Shameless Self Promotion
and Networking for Christian Creatives
by
Paula K. Parker
Mike Parker
Torry Martin
Published by WordCrafts Press at Smashwords
Copyright © 2011 Paula K. Parker, Mike Parker, Torry Martin
Cover art & design by Kevin Tucker & Ben Harper for Collide Creative
This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author.
This book is also available in print at most online retailers.
CONTENTS
Do nothing out of selfish ambition or vain conceit; but in humility consider others better than yourself!
Prologue
This is a prologue.
Yes, we know; most people see the word, Prologue, and flip past it to get to the real book, thinking that the prologue is an archaic and boring addition to the beginning of a book and about as useful as lips on a chicken; and after all, who wants to kiss a chicken?
But, trust us; there is a reason for this prologue. We mean, honestly, every great book begins with a prologue and who are we to challenge the system?
"Indeed," you ask, "just who are you to be writing a book on shameless self promotion... much less one with a prologue?"
Ah, a challenge. You want to know our credentials? Very astute question. Let's see if our answer is equally astute.
Our Credentials
The three authors of this book have a combined 55 years - yes, we are that old - of professional experience working in various segments of the Christian and general market entertainment industries.
Mike and Paula K. Parker
Since 1995, the husband and wife writing team of Mike and Paula K. Parker, have interviewed hundreds, nay, thousands, of people from all walks of life - from superstar actors like Orlando Bloom, Pierce Brosnan, Harry Connick, Jr., Danny DeVito, Colin Firth, Morgan Freeman, Laura Linney, James Marsden, Emma Thompson, Rachel Weiss and Michael York; to Oscar winning directors like Jerry Bruckheimer, Peter Jackson, and Sir Ridley Scott. They’ve talked to Grammy Award winning recording artists like Jars of Clay, LL Cool J, Steven Curtis Chapman, and Michael W. Smith; guitar legends like Phil Keaggy and Gordon Kennedy; sensitive singer/songwriter-types like Margaret Becker, Annie Herring, and Andrew Peterson; world-class composers like Howard Shore (Lord of the Rings Trilogy) and Harry Gregson-Williams (Kingdom of Heaven, The Chronicles of Narnia: The Lion, The Witch and the Wardrobe); and best-selling authors like Douglas Gresham, Frank Peretti, Nicholas Sparks, and GP Taylor. [We could go on and on, but that would just be pretentious.]
They’ve also interviewed experts in countless career fields and endeavors, from runway models to Olympic athletes, cave explorers to infertility specialists; from theologians to shoe salesmen; from homemakers and educators to politicians and public health officials. Their works, collectively and individually, have been published in dozens of national periodicals and prominent online websites. Their books include both fiction and non-fiction and their stage plays have been performed by theatrical companies across the United States.
Torry Martin
Torry Martin is an award-winning actor, screenwriter, comedian and author. In addition to penning humor columns for a variety of national print and online publications including Cloud Ten Pictures, On Course Magazine, Enrichment Journal, Front Yard Worship and Clubhouse Magazine, Martin is the author of seven comedy sketchbooks published by Lillenas Drama Publishers. Torry’s unique sense of humor caught the attention of the producers of the popular children’s radio series, Adventures in Odyssey, who enlisted him to lend his writing skills to the show. Martin went one step further, creating the delightful recurring character of Wooton Bassett, based loosely on himself.
An accomplished actor, Torry starred in the national touring company of Columbia Artist’s musical comedy, “Around the World in Eighty Days.” He has appeared on The Learning Channel and the Fine Living Network; won top honors as both writer and actor in the Nashville 48 Hour Film Project; and has twice been named Grand Prize Winner for both Acting and Writing by the Gospel Music Association. A storyteller at heart, Torry has graced the stages of hundreds of secular and sacred venues across the country, sharing a brand of comedy described by author Paul McCusker as, “Garrison Keillor with a spiritual perspective."
Torry has developed a unique approach to networking that eschews the common idea of ‘what can you do for me,’ and turns it around with a ‘how can I help you?’ attitude. As Rene Gutteridge, popular screenwriter and author of 16 novels said, “When you meet Torry Martin, you suddenly have 300 new friends.”
Combined…
We’ve had the privilege to work with some of the top editors, influential writers, publicists, copy editors, and PR experts in the industry, many of whom we count as friends.
One thing we’ve learned - everybody has a story. Another thing we’ve learned - not everyone knows how to tell their story well. It pains us to see people without the tools to promote their message or product, or watch them stumble through an interview, little realizing how they appear to their audience or how it affects the article that will be written about them.
Creative people are often right-brain dominant; but while the right-brain opens the door, it’s usually the left-brain that does the business. That is why we wrote this book. Shameless Self Promotion and Networking for Christian Creatives is designed to help equip you, whether you are an individual or an organization, with the tools you need for successful self-promotion, using tried and proven methods and without the need to sell your soul in the process.
Who would benefit by this book?
Actors
Artists
Authors
Church leaders
Event organizers
Filmmakers
Musicians
Photographers
Painters
Sculptors
Speakers
...and just about anybody else with a story to tell; which is just about everybody else.
It is not our intent to limit the people who fit into this group. If you have a unique talent that doesn’t fit this list, but still needs promotion, this book is for you. Perhaps you are not in “The Christian Entertainment Industry.” Perhaps you are an ordinary person caught up in extraordinary circumstances. Perhaps you are an expert in your field. Perhaps you are a church, school, or business that has need for publicity for an event. For whatever reason, you have a story to tell and you’ve been given the platform to tell it. It is your obligation to tell it well. This book will help you do that.
Indie and Signed
If you are an independent artist, you already know that the burden of promotion rests upon your shoulders. If you’re a signed artist/author/actor, chances are the promotions ball is still in your court. The old days of, “I signed a contract and all I have to do is sit back and let the royalties roll in,” are gone. In fact, we doubt they ever existed. Today, even signed artists with an established track record must be heavily involved in promoting their own work if they want to continue to succeed. Just ask NY Times best-selling author, GP Taylor.
In 2004, while still a vicar with the Church of England – he has since retired – he sold his motorcycle to raise the money to self-publish his first novel, the Young Adult supernatural thriller, Shadowmancer. Acting as his own publicist, Taylor gathered a list of media outlets and began contacting them with press releases he wrote himself. Shadowmancer was an instant smash hit. Taylor was later approached by one of the UK's largest publishing houses, leading to multi-book contracts, movie rights and international notoriety. Shadowmancer went on to become a New York Times best-selling novel.
Taylor has since written nine more novels utilizing the services of traditional publishing houses. Although these companies either have their own publicity departments, or outsource publicity to independent firms, Taylor has never stopped shamelessly self promoting his books.
“Who knows a book better - or wants to see it succeed more - than the author?” Taylor asks. “I continue to add to my list of media outlets and regularly send out press releases with news that relate to my books or their message.”
What You Will Find in This Book
Shameless Self Promotion and Networking for Christian Creatives is divided into six chapters.
In Chapter One, we look at you and what you are trying to promote - whether it is a book, a CD, an upcoming concert tour, an event at your church, or your own personal ministry.
Chapter Two discusses your press kit and tells you, in the words of Bob Seeger, "What to leave, what to leave out." A fresh press kit is a good press kit. We'll tell you how to keep it fresh.
Chapter Three covers publicity and how to promote yourself, your project and your message without selling your soul for 15 minutes of fame.
Chapter Four deals with that gut-wrenching, nail-biting, break-out-in-hives-and-cold-sweats event known as The Interview. [It can be intimidating, but you can do it; we know you can.] This section includes helpful hints for pre-interview preparation, the interview, and the post-interview follow-up and evaluation.
Chapter Five explains how to effectively brand and market yourself and your products.
Chapter Six looks at networking from a Christian perspective.
In each section, we will include anecdotal examples of good shameless self promotion, and maybe some cringe-worthy examples of shameful self-promotion to avoid.
I Think I Can, I Think I Can
Now that you know what this book is about, you might wonder, Can I do this? Do I have what it takes to promote my book/CD/film/show/myself?
Yes, you can - and yes, you do!
Paula, Mike and Torry all began as independent artists. We all learned - through trial and error and with lots of advice from industry experts - what worked and what didn’t.
“I started off on 80 acres in Bear Valley, Alaska,” Torry notes. “Not exactly the Entertainment Capital of the World. But, people invested in me and I want to turn around and do the same for other people who are living in their own little cabin, wherever they are, to help them get their message heard. If someone from the mountains of Alaska can do this, anybody can.”
This book will help you write your own success story, rather than waiting for someone else to write it for you.
Butcher, Baker, Candlestick Maker
Since this book is written for creative people in all fields, it would be awkward – not to mention time-consuming – to list all the different artistic fields each time we referred to a person or project. Throughout the book, we will use the different artistic titles – author, actor, singer, painter, etc. – and the different creative fields/projects – books, CDs, concerts, portraits, etc. – interchangeably. It is not our intention to favor one over the other. If something speaks uniquely to a specific person, project, skill or artistic endeavor we will mention it. Otherwise, figure it all applies to you.
It’s a Team Effort
If you have a signed contract with an entertainment-oriented company, such as a record label or book publisher, then you have a team who has a stake in helping you promote your work. Depending upon the details of your particular situation, that team might include:
A Manager
A Booking Agent
A Publicist
An A&R Executive
A Publisher
An Editor
A Graphic Designer
A Marketing Team
A Host of Other Professionals
...and of course, never underestimate the power of a pushy stage mother.
These people have the experience and expertise to promote you and your book/CD/film to the appropriate journalists and media outlets. If you are smart – and since you are reading this book we assume that you are smart – you will rely on these people for advice and direction for your career. Touch base with them on a regular basis. If something you consider newsworthy happens in your life – you just got married, you just had a new baby, your last movie won an Academy Award for Best Picture – tell your publicist. If you spoke to a group of students about your new book, let your publicist know. If you waded through three feet of snow to rescue a puppy, your marketing team can use that information. We could go on ad nauseum, but you get our drift.
If you are an indie artist, you need to gather your own team of people. We don’t mean your parents or spouse or your BFFs, unless they have experience within the industry [See pushy stage mother above]. We mean people who understand the industry and will be honest with you about your project as well as other areas of your career, including the different parts of your press kit and promoting yourself.
They need to be believers who support you and understand your heart and the Lord’s calling on your life. Your team could be as official as an honest to goodness board of directors, but it could also be an informal group of people who are committed to praying for you while at the same time offering sound advice. Regardless of how they are organized, you need to be committed to listen to them, even if you don’t like what they have to say.
He, She, We
This book contains the collaborative efforts of three unique individuals, plus input from dozens of industry experts from a broad range of backgrounds. Some of the situations mentioned in these pages are things all of us have experienced. Others are unique to only one of us. To keep it simple for you, the reader [and for us, the writers], we will use third person plural pronouns [we, us, our] throughout most of the book. For sections that are unique to one or two of the writers, we will specify the author(s) by name.
Some of the information in this book was supplied by fellow creative people within the industry. They are all people we know personally and trust. To these, we tip our collective hat and say, “Thanks.” We owe you a backscratch and, as successful networkers, we promise to repay.
Chapter One
At some point in time, you’ve probably been taught, or at least exposed to, the social skills involved with making proper introductions.
A proper introduction will go beyond simply sharing names. It will include enough information to help both parties feel more comfortable in each other's company.
“Betty, I’d like you to meet Wilma Flintstone; she’s new to Bedrock. Wilma, this is Betty Rubble; she and her husband live next door to you. Betty, Wilma is married to Fred, who is a member of the Water Buffalo Lodge. Wilma, Betty’s husband Barney is also a member of the Water Buffalo Lodge.”
Beyond providing their names, you have shared information that these two ladies have in common. They now have a starting point to get to know each other better. When it comes down to basics, promotion is about introductions. For the artist, this means letting your audience know:
Who you are.
What your product is.
When your product is coming out.
Where you are going.
Why you are going there.
Who you are doing this for.
Why they should care.
Before you can tell other people who you are, however, it’s important that you know who you are, if for no other reason than to know how you want to be introduced. As the caterpillar in Alice in Wonderland so succinctly inquired, "Who Are You?"
What’s the point?
When Mike conducts an interview, one of his favorite opening questions to new artists is, “What’s the point?”
The point that Mike refers to is, ‘Why am I conducting this interview with you? Who are you? Why do you do what you do, and why should I care?' What he means is, 'Do you have a mission statement? Do you have a ministry, a goal, a passion? Have you had an unusual experience that people other than your mother would find interesting? Can you express it in such a way that makes me excited about it? What’s the point?'
A few years ago, Mike and Paula interviewed an up-and-coming young band that had just charted their first hit in the Christian market. They were fresh, exuberant, talented, and eager. They had great personalities. And we had a rotten interview.
They missed the point.
“Why are you doing what you are doing?” we asked. “Why Christian music rather than pursuing a general market deal? What is your purpose? What’s the point?”
They responded with looks and a shrugged, “We just want to be available to do whatever God wants us to do.”
It was a nice, safe answer. It sounded like a sincere answer. We believed it was a sincere answer. But it didn't give us anything to write about. After all, as believers we all want to be available to do whatever God wants us to do. Just exactly what did, ‘Whatever God wants us to do,’ mean to them?
“So,” we replied, “what if your next gig is at a large church, and the youth pastor tells you they’ve decided they really don’t need music. They are going to pay you for your time, but rather than taking the stage and making music, why don’t you make yourselves useful and clean the toilets?’”
Probably not the follow-up question they were expecting.
“Well, if that’s what God wanted us to do, we would do it,” they stammered, and followed it up with appropriate Scripture about servanthood, and Jesus washing the disciples feet, and the first shall be last.
Another nice, safe answer; but somehow it just didn’t really ring true, and, as we left the interview, we weren’t sure we really believed it. After all, these guys weren’t plumbers, or auto mechanics, or firefighters. They were musicians, singers, songwriters and performers. They had a job to do, and that job probably didn't involve cleaning toilets, although, "Award-Winning Christian Band Spends Weekend Cleaning Toilets," might actually have made a pretty good headline.
Body Parts
The reality is, anyone who is committed to the cause of Christ is going to want do whatever God wants them to do. That’s just the nature of Christianity. But some people are called to mop floors or fix cars, and some people are called to sing, or act, or write. God calls people to different ministries.
The Apostle Paul compares it to our physical bodies. Not everyone is an eye. Not everyone is a hand. Not everyone is a foot. Not everyone is a backbone, or a pulmonary artery, or a small intestine. But every part has a specific job to do that is vitally important, and quite frankly cannot be done by any other part of the body. It would be pretty silly for the optic nerve to try to digest breakfast, even if it is a job that needs to be done. The eye is just not made for that job, no matter how ‘willing’ it is to be used by God.
So, we ask you again, “What’s the point?” Perhaps a better question is, "What's your point?”
Do you love to lead praise and worship? Do you love to rock? Do you relish singing in bars, sharing the Gospel with people who would never darken the doors of a church? Or do you prefer to sing in churches to encourage believers who would never darken the doors of a bar? Are you a filmmaker who just finished your first film? Are you a speaker who likes to encourage young mothers or single fathers? Do you use comedy to open people’s eyes to the wonder of God’s grace? Are you a church that houses a community theater? Are you a businessman who uses your influence to encourage kids to go on short-term mission trips? Do you support an orphanage in Haiti? Did God deliver you out of a horrible situation and you want to minister to others facing a similar situation? Maybe your little brother has Down Syndrome and your passion is to raise awareness about the condition.
By answering these questions ahead of time, you will sharpen your own focus and make it easier for interviewers to help promote you and your work.
Know Your Genre
The Merriam-Webster Dictionary defines genre as, “a category of artistic, musical, or literary composition characterized by a particular style, form, or content.”
When Mike and Paula interview a new artist, they often will ask them what genre their music is in. It is not uncommon for artists to shrug their shoulders and reply, “We have a unique style. Our sound crosses all boundaries. We play a lot of everything. We don’t want our music to be pigeon-holed into a particular genre.”
That might sound sophisticated and artistic. It might even be true. But it doesn’t help your potential audience, or your interviewer.
Let’s say that Anna Owen walks into the local record store to buy a copy of an album by the new group, Facing the Elephant. [For the record, Anna is a real person; we made up the name of the group, so if your band happens to be called Facing the Elephant, this is not about you.] Because the name of your band is not indicative of any particular genre, how will Anna know where to find it? Yes, she could ask a clerk, who should know where to find the CD - except when the store owner opened the box of Facing the Elephant CDs, he didn’t know what category to put them in, so they ended up in the 'Children's Music' bin - a place the clerk never thought to look.
Yes, we also know we live in the digital information age. There aren't too many brick and mortar record stores left, but the principle is the same if Anna went to her favorite online record store. When a customer has cash-in-fist and is ready to buy, the last thing you want to do is make it hard for her.
Rather than make a movie of the week out of this scenario, just realize that beginning with the marketing team at the label and trickling down to the store owner, to the clerk, to the customer, it’s important to know what genre your work fits into - even if it's metal-bluegrass-banjo-funk.
Write it Down
Questions such as 'What's the point?' and 'What genre do you work in?' are defining questions. The answers to these questions can help you define and refine your mission and calling. As you grapple with these questions and come up with the answers, write them down. They will become part of your mission statement or statement of purpose.
Write down everything that you can think of about what you want to accomplish with your project, your career or your ministry. Take your time and be as detailed as you can. This is brainstorming time. Don’t worry about making it sound eloquent at first; just jot down the ideas as they come to you. You can always go back later and polish them.
Read your answers out loud. Listen to how they sound. Refine your answers until you come up with a single statement that succinctly defines who you are and what you do. This is your mission statement.
Share it with your Team [If you didn’t read the Prologue, go back and do it now. It explains the Team]. Listen to your Team’s responses with an open mind; it’s much better to hear someone who cares about you tell you that your statement of purpose sounds corny, hackneyed, or contrived than to end up as some writer’s anecdote for a poor quote.
If your team likes it, ask why. If they don’t like it, ask why. Ask if they have any suggestions for improvement. That doesn’t mean you have to erase what you originally came up with. It does mean being willing to add, subtract, cut, paste and polish your mission statement until it shines like a diamond.
Be flexible. Mission statements are not written in stone. What may be true for you today might change tomorrow. Torry started out as an LA-based actor before he moved to Alaska and started writing comedy sketches. Then he moved to Tennessee and became a screenwriter. He is now commonly seen on the stage doing stand-up comedy as well as acting in films and on television while he continues honing his craft as a writer. Paula started out as a stage actress, began writing dramatic sketches for church drama teams, moved into writing reviews and feature articles, and is now an author and playwright. Mike began his career as a freelance writer, and has since branched out into acting and directing.
Who Are You?
Once you have your mission statement firmly established it is time to work on your own introduction, or biographical sketch. Your bio should be long enough to provide all the pertinent information about you but short enough to be intriguing, to make people want to ask questions about you. Keep in mind that your bio is an introduction, not a memoir.
To give you an idea of what we mean, we’ve included our own introductions:
Meet Paula K. Parker
Instead of the typical writer’s resume, Paula created a document entitled About the Author: Paula K. Parker, which she includes with her press kit as a resource for potential interviewers. It begins with a short introduction and follows with a list of the major writing she has done. Here is her introduction.
Paula K. Parker has been writing as long as she can remember. With a poet father, writer mother, and a story-teller grandmother, she has always been comfortable in the world of words. Early training in music and theater led Paula to a life-long love for the arts. This passion eventually brought her to Nashville, TN, where she - along with her writer husband, Mike - helped establish Carpenter’s Playhouse and Lamplighter’s Theatre Company.
A stint teaching in the public school system, along with seventeen years of homeschooling her five children, has resulted in not only a quick wit and a unique sense of humor, but also the ability to effectively communicate ideas on a wide range of subjects to a broad range of age groups.
Since 1995, Paula has been a professional freelance writer with more than 1,000 articles, sketches, plays, scripts and books to her credit. She has written for such highly-regarded national publication as Christian Single, Christian Health, Family Fun (Disney), Living with Teenagers, the National Drama Service, ParentLife, Clarity, Release Ink, Profile, Bible Express, and HomeLife magazines. She contributed to Thomas Nelson's New York Times Best-Selling Bible-zine, Becoming. Her stage plays include adaptations of the Jane Austen classics, Pride & Prejudice and Sense & Sensibility as well as numerous original works.
Online she has written for Crosswalk.com and LifeWay.com, and currently serves as the National Christian Entertainment Examiner for Examiner.com and Editor for the online entertainment magazine, BuddyHollywood.com. In 2010, her first novel was released, YHWH: The Flood, The Fish and The Giant, co-written with NY Times best-selling author, GP Taylor.
Meet Mike Parker
Mike Parker is an award-winning freelance writer, actor, director, novelist, playwright & screenwriter. A BA degree in Bible and Philosophy, a stint as an officer with the US Army Special Forces (Green Berets), a career as a stock broker during the great bull market of the eighties, and an entrepreneurial plunge into the uncertain world of television syndication have all combined to give him a unique outlook on the world. Blessed [or cursed] with an insatiable curiosity he is voracious reader, questioner, ponderer.
The year 1993 brought Mike from Texas to Nashville, TN where he, along with his playwright wife, Paula, helped establish Carpenter’s Playhouse, a local community theatre. Together they now serve on the board of Lamplighter’s Theatre in Smyrna, TN. With the creative juices flowing from the theatre and the proximity of both the music & publishing industries, Mike turned his attention to his old flame, writing. His efforts paid off as more than 2,000 of his articles, celebrity profiles, CD, book & theater reviews, and poetry have been published by such national periodicals as Campus Life, Today’s Christian Parent, Vibrant life, and CCM. His articles have been featured on the covers of such national publications as HomeLife, Christian Single, Stand Firm, Bible Express, Living With Teenagers, 7Ball, and Release Magazines.
Meet Torry Martin
Torry Martin is a writer, actor, comedian, speaker, author, storyteller and teacher who has delighted audiences and readers for years with his zany personality and warm heart. This hilarious transplanted Alaskan and self-confessed Hippie for the Holy One uses his creative way of looking at life to draw people in and quench their thirst for laughter, while at the same time imparting important spiritual truths.
He is a member of the Christian Comedy Association and a two-time Christian Artists Gospel Music Association Grand Prize Winner for his acting and writing abilities. More recently, he was awarded the Grand Prize for creating the best “Life Lessons” commercial for The Learning Channel.
Torry writes for the Adventures in Odyssey radio series for Focus on the Family and is the creator of Wooton Bassett, a popular character in the series. He additionally writes a regularly featured humor column for Christian periodicals “On Course” and “Club House.” He travels across the country speaking and performing standup comedy at a variety of Christian events.
Torry regularly teaches at Christian writers and filmmakers conferences on topics that include “Sketch Writing 101,” “Comedy in Action/Show me The Funny,” “Discovering Your Calling and Finding Your Gift,” “The Art of Collaborative Writing," and of course, "Shameless Self Promotion and Networking."
The Mini-Intro
In addition to a full-blown introduction, which you will include as an integral part of your press kit, it is helpful to write and polish your own one or two-sentence introduction. This should be one of the first things you put in your press kit. Your mini-intro will be used by the interviewer or emcee to read before you go air or before you come out on stage. A two-sentence intro is intentionally short so it can be written on an index card that is small enough for the emcee to hold in the palm of her hand.
“It is better for your audience to be impressed with your performance than with your introduction,” Torry says. “The worst introduction I ever got came from a friend who told the audience, ‘Torry Martin is the funniest comedian you will ever hear!’ There is no way I could ever live up to that kind of hype. I could see members of the audience crossing their arms as if to say, ‘Okay, big boy, prove it!’
"The second worst introduction I ever got came from a person who had never met me and had never seen me perform. He said, ‘I’ve been told Torry Martin is really funny, but I’ve never seen him, so I don’t know. Here he is.’ Since you never know who is going to introduce you, it is imperative that you have a two-sentence introduction that is easy for anyone to read. Your job, at that point, is to live up to your own press.”
Torry’s standard introduction is – “Torry Martin is an award winning actor, comedian, and writer who created the character of Wooten Basset for Adventures in Odyssey. Please welcome the Hippie for the Holy One.”
Chapter Two
If you’re new to the industry, you may not have any idea what a press kit is. Even if you know what a press kit is, you might not know what a good press kit should contain.
Here's the skinny:
A press kit is a collection of promotional materials that is provided to media outlets, performance venues, promoters and other influencers, usually as part of a publicity campaign. A press kit serves as an introduction to the artist, project or event.
Physical press kits can be expensive to produce and expensive to send, so use them judiciously. Electronic press kits may also be expensive to produce, but they cost little to distribute online. It is a good idea to have both.
There are two scenarios when you might send out a press kit:
Scenario One: A Media Outlet Asks For It
Mike has been contacted by BuddyHollywood.com to write an article about this amazing Christian comedian, Torry Martin. Mike contacts Torry’s publicist, or - if Torry doesn’t have a publicist - then he contacts Torry directly. Mike explains that he has been assigned to write an article about Torry and needs to set up an interview. Torry – or Torry’s publicist – not only schedules the interview, but sends Mike one of Torry’s press kits. The press kit is chock-full of fascinating information that will help Mike prepare for the interview, and later will serve as a basis for his article.
Scenario Two: Your Promotional Pitch
Paula opens her daily mail to find a press kit about this amazing Christian comedian, Torry Martin. The press kit includes a cover letter that mentions Torry is available for interview. Paula has heard of Torry, but knows little about him. She receives a dozen or more press kits in the mail each week, not counting the multitude that clutter her email inbox. Most hard copy press kits end up in a large pile in the corner of her office, awaiting the time when she has no other pressing matters to attend to. However, something about Torry’s press kit catches her eye and rather than tossing it into the slush pile with the others, she takes the time to sit down and look through it. Intrigued by this handsome and talented young man, she decides to write an article about Torry for BuddyHollywood.com.
The primary difference in these two scenarios is; one press kit is requested while the other is sent cold with high hopes and fingers crossed. As mentioned before, physical press kits are expensive to produce and mail. While they are an invaluable resource in either situation, if cost is a factor, save your hard copy press kits for people who request them, and do your cold calling with your electronic press kit, known in the industry as your EPK.
Regardless of whether you send a physical or electronic press kit, it is absolutely essential that the content inside the press kit be fresh, up to date and professional in appearance. Every artist's situation is unique, so every press kit should be tailored to that situation. A press kit for a film might contain production notes, while a press kit for a book might include favorable reviews of your previous novels.
If you are involved in multiple art forms or have multiple projects, you probably need more than one press kit. Regardless of what kind of project you are promoting or how many different art forms you are involved with, there are some basics that every press kit needs.
Press Kit Check List
Pictures
The old saying, “A picture is worth a thousand words,” is absolutely true for a press kit. We were not exaggerating when we said that Paula and Mike receive a dozen or more press kits each week. [We were exaggerating, however, when we said that they are stacked in piles in Paula's office; they are actually stacked in piles in Mike’s office. But we digress…] Your picture should be the first thing a journalist sees when she opens your press kit.
Good quality pictures catch the eye and give your press kit a fighting chance to not end up gathering dust in the corner of Mike’s – or some other journalist’s – office. There are two types of pictures that appear in a press kit; the headshot and the picture page.
Headshot
A professional quality 8x10 is an essential part of a press kit for anyone in the creative arts whether you are an individual artist or a group. If you can afford it, have your headshot taken by a professional photographer. This can be pricey. You might find a photographer who can deliver the goods for an $85 sitting fee, but a good headshot from a pro, including hair and makeup [yes, this applies to guys as well as girls] can set you back several hundred dollars, particularly if you rely on the photographer to provide you with reproductions.
Keep in mind that photographs by professional photographers are usually copyrighted material. You need to understand what kind of reproduction rights you are buying before you sit for your headshot. You will typically only be able to get reproduction and press rights to one photo unless you buy more. Always respect the copyright. It is how your photographer makes a living.
You may need to pay for the services of a stylist or makeup artist, but we're not talking 'glamour shots' here. You are looking for a good representation of you. You can hire a professional makeup artist to be on set for your photo shoot, but it will cost you. You can save a few bucks by scheduling an appointment at the fine makeup counter at your local department store.
If you can’t afford to pay the photographer's going rate, get creative. You are creative, aren't you? Talk to him. Is there something you can offer in exchange? Barter is a time honored tradition. Maybe you can work out a trade. That's how Mike and Paula got their first headshots.
"We met a professional photographer when our daughter Rachael was modeling," Mike recalls. "We chatted with the photographer while Rachael was changing for the shoot. The photographer asked what we did for a living. When he discovered Paula and I were writers, he offered to do a photo shoot in exchange for a professional bio."
That photographer turned out to be Allen Clark, who a dozen years later, took the authors' photos for the back copy of this book.
Consider contacting your local newspaper to see if they have a news photographer who hires out freelance. Ask to see some of his work. If it's good, you might be able to hire him for significantly less than a studio photographer, although you may not get all the bells and whistles. In addition to the photographer's professional fee you will be responsible for the cost of purchasing, developing, and printing the film. Even if he shoots digital, you will still have to pay for your prints. On the positive side, since it is a work for hire gig, you will own the negatives and the copyright to the pictures, so you can use any shot you want without the legal hassles.
A third option is to check with your local college’s photography classes. Photography students have a certain number of assignments they have to complete, so they may agree to do your headshot for a nominal fee or even for free. Having their work in a professional press kit helps them build their resume, so it's is a plus for them as well. Just make sure give them photo credit.
The advent of digital photography has placed extraordinary photo technology into the hands of the common people. Avid amateurs who are trying to turn their hobby into a business may be willing to do a photo shoot for a reduced price in order to build their portfolio. As with college students, you will be responsible for covering the cost of printing the photos.
Regardless of where you find your photographer, it is absolutely imperative to make sure your photographer can deliver the goods. It is also imperative that you are comfortable with your photographer. If you are not comfortable with your photographer, walk away. If you don't seem to be able to communicate effectively with your photographer, walk away. If you just have a gut feeling that this photographer is not the right fit, trust your feeling and walk away.
"I came from the other side of the industry before I became a professional photographer," Allen Clark says. "I was an artist development agent for the William Morris Agency, which is one of the largest talent agencies in the world. I was the one who received all those press kits. Nine times out of 10 when it looked like the photo was done by the artist's cousin, the music was dreadful. It seemed like those two things went hand in hand. If a person had a good idea of what a good presentation for their photo was, nine times of out 10, their music sounded good. The bottom line is, when someone appears to know what they are doing, they probably do, and it translates across genres."
You may not know what a good headshot is supposed to look like. A quick way to see what the entertainment industry thinks is a good headshot is to go online and check out talent agency websites. Find headshots that you like. Make a note of them. Show them to your photographer.
"If your photographer can see what you are looking for, she has a better chance of getting inside your head, and she'll be more likely to deliver a great end product," Allen says.
Once you get your proofs back it is likely that you will have a lot of photos that look remarkably similar. It can be a daunting task to pick the best shot out of a bunch of good shots. Allen recommends showing the pictures to your peers or colleagues who may not see you on a day to day basis. This is where your team comes in.
"Get a pair of fresh eyes on your pictures," Allen says. "You probably want to stay away from family members who have seen you day in and day out. They are too close to the subject. You want someone who doesn't remember when you had a nose ring or when you were a redhead."
Remember that turnabout is fair play. If you get a great headshot at a discounted price, grab a handful of the photographer's business cards. When someone tells you, 'Hey, great headshot!' don't just say 'Thank you.' Hand them one of your photographer's business cards. Tell your colleagues how great your photographer was to work with. Sing the photographer's praise, but don't say, “You should call Polly Roid; she did my headshots for free!” Polly may have done a cut-rate photo shoot for you, but that doesn’t mean she’ll do it for someone else.
"Technology has reduced the cost of photographic equipment to the point that anyone with a cell phone thinks they are a photographer," Allen quips. "While everyone has to start somewhere, you probably don't want that guy shooting your headshot. The good news is; competition has driven prices down, so you won't have to spend as much as you used to for a good headshot. The bad news is, there are a lot of amateurs out there who think they are professionals, and it is easy to pay way too much for a bad headshot."
Preparing for the Photo Shoot
As with most things in life, when it comes to your photo shoot proper prior preparation prevents pitifully poor performance. Preparing for the photo shoot is almost as important has having a great photographer. Notice that we said, ‘almost.’ We’ve seen some great photographers work miracles with less than optimum subjects. Still, whatever you can do to help the photographer increases your chances for a great head shot.
When it comes to your clothes, simple is better. You know that super cool shirt with a psychedelic print? Don’t wear it for the photo shoot. Ladies, be aware of your neckline. You want the eyes drawn to your face, not to your cleavage.
"It is always better to wear solids," Allen says. "Your face is the thing that needs to be pointed to. Your headshot is about your face and your personality, not your clothing. You want your audience to notice you, not your clothes. No whites, no reds, no bold prints. Black works for most people, but you may need to try it out because some people just can't wear it. Bottom line - if it doesn't work, don't wear it."
Don’t wear your photo shoot clothes to the photo shoot. Carry them with you in a garment bag and change when you arrive at the venue. You don’t want a wrinkle from the car’s seatbelt shoulder strap showing up in your headshot. Don't limit yourself to a single look. Take several changes of clothing and rely on your photographer for suggestions on what looks best on camera.
"A good photographer will be able to tell you when something doesn't look right on camera," Allen notes. "Just one more reason to go with seasoned pro if you can."
A word about wearing logos: don’t. Logos can date your photo. Logos may prevent you from getting cast by a competing company. As a matter of fact, just stay away from writing of any kind on your clothing. Your best bet is to stick with solid colors - except for the aforementioned solid white and solid red.
Keep any jewelry unobtrusive, for the same reason you refrain from wearing busy prints - you want the attention on your face.
Although it is not absolutely required, you may consider engaging the services of a makeup artist. This goes for the guys as well as the gals. A good makeup artist can do something about those capillaries on your nose, those dark circles under your eyes, and that red splotch that came up in the middle of the night.
Ladies, your headshot is not the appropriate place to display for your stunning evening/party makeup. We've said it before, and we'll say it again, this is not a glamour shot. If you choose to do your own makeup, apply it with a light hand using neutral colors. The goal is to have someone think, “What a great face!” not “What great makeup!”
"With the advent of photo editing software, makeup is not as essential as it used to be, but that doesn't mean you don't need it," Allen says. "When I'm on a photo shoot and there is a makeup artist available, it makes my life as a photographer, a whole lot easier."
Think like a Boy Scout and Be Prepared by carrying an emergency kit with you to every photo shoot. Your emergency kit should include the things you need to touch up your hair and makeup - a comb/brush, bobby pins, safety pins [they have a million uses, trust us on this one] hairspray, and makeup. Get some oil blotting tissues; you can find them in the makeup supply section at most drug stores. They can help remove the shine from your face, preventing the need to add more powder. For those of you like Mike, who have, shall we say, less than a full head of hair, you might want to carry some translucent powder, to cut down on the reflection from your pate.
Headshots Odds and Ends
Even if your photographer has a professional studio with backdrops, it never hurts to take some of the pictures outside. These pictures can look less staged and more natural. Plus, you don’t want to have only one picture that you send out each time. Using a variety of pictures can keep your press kit fresh.
Paula notes the effect of getting regular press releases about an artist with the same ol' headshot attached.
“When I get multiple press releases about the same artist, and the artist's press photo is the same, I have a tendency think the information in the press release is just more of the same. I may hit "delete" without even reading the press release, because it appears to be old news.”
The standard for television and film headshot is color while actors in the theatrical world still use black & white headshots. If you only have the budget for one or the other, choose color. You can always digitally convert a color headshot to a B&W headshot. It doesn't hurt to include both color and B&W photos in your press kit, as some media outlets, such as local newspapers, tend to print most photos in black & white.
Remember, your photographer is a part of your network and you want to maintain a professional relationship with her. Ask your photographer questions to get to know her. This will make you more comfortable with her, and it will make her more comfortable with you. A comfortable photographer takes better pictures. Always send your photographer a thank you card.
Important Note: Once you have your head shot, remember this picture represents you to casting agents or event sponsors. While this is not a written in stone photo, if the cover of your CD or the back of your novel shows you with long hair and a beard, people are going to expect to see you with long hair and a beard.
On the next page we've included an example of an excellent headshot from our friend, actress and author Nancy Stafford. Nancy's original headshot is in color, and can be viewed at her website, http://www.NancyStafford.com. Note the simplicity of her sweater, the absence of jewelry and the uncomplicated background. There is nothing in this headshot that distracts your eyes from her lovely face.
Nancy Stafford
Picture Page
A picture page is a collection of no more than four snapshots on a single sheet of paper. One or two of these pictures should be of you performing. If you are not a performing artist, look for something that reflects your art. An author can have a picture taken of him seated in front of his computer or at a book signing. A filmmaker can have a picture of him speaking with a cameraman. A songwriter can have a picture of her sitting at a piano. A speaker can have a picture taken with some people from a recent event. The picture page represents you as an artist. Pictures on this page can show a lot more attitude and passion than your headshot.
"A professional headshot is usually not thematic," Allen notes. "It's just 'me looking my best.' Promotional shots are going to be more thematic. Whether these shots are about theme or about attitude, the important thing to remember is, don't take yourself too seriously. Don't look too deep into it."