Tag Archive for: theater

Rescue Your Resume – Before It’s Too Late

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Rescued from what you ask? A HUGE and most common mistake! Thinking that your acting resume is nothing more than a compilation of all of your previous work is folly. Why? Because that’s not how casting directors, agents, or anyone else in the industry view it.

Yeah, I thought I might get a “huuuhhhhh?” on that one.  Your resume is a living, breathing document that, at a glance, needs to tell agents, managers, casting directors and ultimately the creative team that will be hiring you, exactly what you’re capable of…now or in the immediate future!

Getting the right info on exactly how to position yourself for the roles you want can be tricky, but there is a strategy and system that works.  The first step is to change your thinking. You need to look at your resume from the reader’s point of view and realize it is simply the marketing tool that gets you in more doors, garners more auditions, and identifies what you uniquely have to offer.

Every resume will be different of course so you’re going to have already done the work of determining what you are “selling”.  Your resume (along with your headshots and media clips) are simply the “brochure” that gives the industry professional you want to attract, the “first look” to determine whether they want to “taste” (audition) the real thing in person.

Your talent agent knows that this is the same tool, the one you’ve created, that they will be using as well.  The casting directors they submit to are looking for first and foremost a few things to connect to and you’ll need to make these easy for them to find.

Psychologically the resume is a “mind map” – images for the reader that identify the roles you’re right for but haven’t played yet.  Remember, they are looking to see if you’re a match to the future role and looking for evidence that you’ve done something similar or have the training and “industry proof” via other people that have hired you in the past.  Everyone out there is reducing risk, valuing time, and need exactly what they need when they need it.

Your resume has to give them this info fast, clearly, and also create a big gut reaction that says “YES”.  Because if it isn’t a “hell yes”, it’s a “hell no”!

Here are a few tips for you to apply to your resume today that will help you immensely:

  • Do keep a separate electronic version 40K or less in a Word or PDF doc ONLY – even though you have it on your casting platforms.
  • Do put your NAME in file title extension
  • Do keep it easy to read, 3 columns, not 4 – forget those directors no one has ever heard of
  • Do put degrees earned even if not in theater studies
  • Do make sure it’s only 1 page

 

  • Don’t reference any years or dates unless on casting platforms for commercials only.
  • Don’t put credits no longer valid (like Annie when you were 10)
  • Don’t put non-special skills (you must do this better than 90% of others)
  • Don’t put your address on your resume
  • Don’t use funky or fancy fonts to stand out

Though we typically submit for representation with agents and managers and for specific casting opportunities through online casting sites, for now you’ll still need the old fashioned printable version that you can also email separately.  Make sure these have the same credits and are consistent.  Though some platforms limit you to the actual structure, try to keep the experience, people, and training the same.  You may want to move credits of your focus to the top to make them easier to find quickly.  The example here would be to put commercial credits at the top of the resume on Casting Networks, though you may only put “list upon request” on the pdf version.

I’m sure I’m ruffling a few feathers here and may even attract some contrary comments, but would love to hear your thoughts.  I can tell you that actors who have employed some of these simple changes have seen fabulous results!

Your Roadmap to Success – Your Resume

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It seems like it should be much easier to convey your artistry and skills as an actor than through the process of submitting a picture and resume online among hundreds, if not thousands, to even GET THE CHANCE to show what you’ve got in person to get work.  A lot has changed with technology and the primary use of the internet as a vetting process before you can show off that great talent of yours.

It used to be that your credits were confined to one single 8×10 piece of paper attached to your headshot (electronically or hard copy no matter), but even with online casting profiles being prevalent, no matter the format or delivery system, exactly what and how much to put on your resume is a topic of consternation, frustration and/or mystery.

So how do you inform the reader of your resume “at a glance” (’cause that’s what it’s gonna get at best in the rush of this biz) that you are the RIGHT ACTOR for the job?  Or, if wanting representation, what is your future talent agent or manager looking for (again quickly) that speaks clearly, concisely, and most importantly stands out and shows you off as as potential income producing possibility?

Most actors have been taught to list everything they’ve ever done on their resume…especially when just starting out. Then, when there are many credits to choose from, you can start eliminating some of them…but which ones?

I have news for you.  “They” are wrong.  When  looking for a guide, consider your resume to be road map.  Do you take out a map to see where you’ve been? (OK, there’s a few in every crowd!)  Or do you take out a map to see where you’re going?

The first thing to consider is that your resume is the road map to your success.  What kind of success?  YOU get to say, and that’s the beauty of  it.  Instead of putting every darned thing on it that you think someone might possibly be interested in, who needs an actor for any given project of any and every kind, what are the projects that you want to be in?

How about being the designer of your future success, and creating the resume that reflects that instead of confusing the reader of your resume.  They are always  looking for a specific kind of actor for a specific role or addition to their talent stable.  Honestly, you can’t be all things to all people as you’ll end up being nothing to no one.

The first step is to cut out all of the things you’ve ever done that don’t reflect what you can currently do (get cast in).  Take off all of those roles that no longer support your “brand” or archetype you’re most likely going to be paid to play.  You do like that word paid don’t you?

In show BUSINESS, your talent (the product) is purchased to fulfill a need (acting role) and this is not a one size fits all business.  What “size” are you?  You can’t be all of them (though your acting teacher told you you could – and that’s your problem!)

Figure that out first – what you have defined as the type/product you’re going to market and then your resume (brochure) reflects that!  Actors that do take the time and lay that groundwork initially make far greater strides faster than those who continue to insist on the ability to “be and do” anything.

What’s you’re take on the subject?  Still have point 8 type on your resume so you can fit it all on a page?  Still listing unknown directors?  Still have the starring role of Annie on your resume but you’re 28?  Stay tuned for more info in coming posts about everything that should and should not be on your RESUME!  Love your comments below as per usual!

Usage of Your Likeness and “In Perpetuity”

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I’m all for actors working.  Of course I am and of course you want to work.  But what KIND of work?

When I worked as a rep at 90210 Talent, I got a big taste of the different “levels” of talent and also the different “levels” of jobs available to actors directly and via agency representation.  It truly amazed me how many gigs were put out to agents in the first place with horrible rates and usage terms.  In fact I had a threshold of “suck” that I wouldn’t even bother with if the rate or other terms around the job didn’t pay well for the actor (and thus for the agent).  It truly wasn’t worth the time to push the submission button.

But even before I worked with the agency and still now, I get pleas for help to refer actors from people casting things directly.  Because of my large roster of clients like you who I could refer to them to and having cast several projects myself in the past, they trust me to send them the cream of the crop.  I just turned down the opportunity today…here’s the email exchange (names are omitted to protect the not so innocent):

Hi Lisa,

We have a commercial print job we are shooting on Saturday. We are in need a female model for a client for our shoot.  Its for a bedding company.  It would be for most of the day.

The client has budgeted $200 for the model which we know is really nothing. But I wanted to see if you might have a few clients that might want to build their book with this project. Thanks so much and I look forward to hearing back.

Hi So and So,

Hummm.  Let me see if this is something I could post on social media or target in an email but I need some more info first.  I would send them directly to you to vet or just give you a handful of my “top of mind” list.

I need a breakdown…age, hair color, height or weight a consideration?  This is print right, so what’s the usage?  How long and in what media?  If in “perpetuity” I’m a big believer in NEVER EVER EVER…for actors at least.  It’s great for the company of course…So again, if still looking let me know and I’ll toss it to a few folks on my short list or maybe actors in my membership who would be most likely interested after getting the answers.

Best, Lisa

Hey Lisa,

Nice to hear back.  Its print.  Its a super small company so it would be in perpetuity.  It would be useful for portfolio usage and then the day rate.  It would be 6 hours of their time or so.  Let me know.

Age: 25-32

Hair: brunette

Ethnicity: Caucasian

Height: 5ft 6 – 5ft 9

Weight: 110-135

Hey So-and-So,

So I’m not able to help with this. Even before I was in agent land I was a big NO to recommending actors doing stock photography or anything in perpetuity. I know there are a ton of folks who would love a $200 payday but I just can’t be a stand for anything without a closed end usage. Suggest you put it out on your Facebook page. You’ll get a ton of responses. xo, L

Thanks Lisa,

Got it!  I still love ya though!

Sooooo here’s the TAKE AWAY lesson for you.  DON’T be one of the folks who are part of the ton of responses to this kind of work in a breakdown, social media or through a referral.  Why?

The reason I declined is because if you say yes to a “trade for photos” or even being paid for a job that has no usage end, that company or photographer owns the RIGHT to your likeness…forever!  They can use those shots years from now and when your career and image have taken off and you are a more visible presence, these shots you did eons ago will be dug out of the drawer because you’re famous now.  Or with stock photography, they can simply take that lovely headshot picture of you, your likeness and image,  and sell it themselves to any company they want.  Any and all of them, over and over, and you get bupkis!

It’s a never ending, with no legal recourse, BAD IDEA.  I’m pretty protective of you all and I’m very protective of my own time and stand on certain subjects. So I hope you understand why I said “no”.

And I’d like you to say it MORE OFTEN than you do.  There is power in saying no sometimes!  Own it!

I’d love to hear your thoughts in the comments section below on TFP (trade for pics) or stock photography.  Also, if you’ve turned down a gig recently for any reason, please share your powerful no.  We’d all love to know!

My Ultimate Reading List

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Many people have asked me who inspires me and who and where I learned what I know so that I can then assimilate and pass on amazing things to you.  I’m always pleased when I get emails or see comments letting me know that what I write, say, or teach has made a difference in someone’s life and/or career.

However grateful I am for these wonderful messages (extremely), I certainly can’t take the credit without acknowledging the sources and, of course, can’t “teach” what I haven’t learned from someone else.  Most great stuff is totally recycled in an expanded form anyway.

OK, I know I have my own special spin on things…just like you do.  But what has significantly shaped me and my world comes from the many books I’ve read, seminars I’ve taken, and mentors I’ve worked with.

Today I offer you my list of favorite books that contain the inspiration, knowledge, and great practical information as well as the mindset, outside the box thinking, and motivation that keep me going.

My desire is that this list of books will help find your own path to the expansion of your knowledge, power, and ultimately translate what you read into ACTion.  Here are the best of the best:

  1. Think and Grow Rich, Napoleon Hill
  2. Ask and It is Given, Abraham-Hicks
  3. One Less Bitter Actor, Markus Fanagan
  4. Never Eat Alone, Keith Ferrazzi
  5. Rich Dad, Poor Dad, Robert Kiyosaki
  6. The Cashflow Quadrant, Robert Kiyosaki
  7. The Game of Life and How to Play It, Florence Scovel Shinn
  8. How to Act and Eat at the Same Time, Tom Logan
  9. The Thriving Artists, Joe Abraham and Christine Negherbon
  10. The Present Actor, Marci Phillips
  11. Acting as Business, Brian O’Neil
  12. Secrets of the Millionaire Mind, T. Harv Eker
  13. The 4-Hour Work Week, Timothy Ferriss
  14. The Tipping Point, Malcolm Gladwell
  15. Power vs. Force, David R. Hawkins

Some may seem obvious (like they have the word ACT in the title!) but some don’t even mention acting. Those books are the ones you may miss, unless you have someone like me telling you “Hey, you GOTTA read this”. Trust me, these books will ROCK your business and your LIFE!

Do you have any books that have inspired you in ways you’d like to share?  Please do, in the comments section below.

 

Fame and Fortune. A REAL Look…

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These days I feel very fortunate. As actors, we use the phrase “fame and fortune” a lot. We all know that the fame is about acknowledgment. But what about the fortune part? Is it really only about money? I don’t think so. Fortune and being fortunate, expresses itself in our daily lives in so many different ways.

If you woke up this morning with more health than illness, you are more fortunate than the million or so people who won’t survive the week. If you have never experienced the danger of war, the loneliness of prison, the agony of torture or the pangs of starvation, you are more fortunate than 20 million people around the world. If you attend a religious meeting without fear of harassment, arrest, torture, or death, you are more fortunate than almost three billion people in the world.

If you have food in your refrigerator, clothes on your back, a roof over your head and a place to sleep, you are richer than 75% of this world. If you have money in the bank, in your wallet, and spare change in a dish someplace, you are among the top 8% of the world’s wealthy.

If your parents are still married and alive, you are very, very rare, especially in the United States.

If you hold up your head with a smile on your face and are truly thankful, you are fortunate because the majority of people can, but most do not. If you can hold someone’s hand, hug them or even touch them on the shoulder, you are fortunate because you really know what compassion is.

If you can read this message, you are more fortunate than over two billion people in the world that cannot read anything at all.

You are so fortunate in ways you never even realize and NONE of it has to do with getting an agent, an acting gig, or the like.

Take a look at just how fortunate you are. Write a list of at least 10 “fortunes” you have. Write the list on a piece of paper small enough to carry with you in your wallet or purse at ALL TIMES. When you find yourself feeling down about missing that audition or having any other “poor me” thoughts, just take out that piece of paper and remind yourself of your riches!

“Be thankful for what you have; you’ll end up having more. If you concentrate on what you don’t have, you will never, ever have enough.” – Oprah Winfrey

Please take the opportunity right now to share with the rest of the community, just how fortunate you are.  Please let us know in the comments section below.

Working For Free – Is It Ever a Good Idea?

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Definition of VALUE – [val-yoo]

1. Relative worth, merit, or importance: the value of a college education; the value of a queen in chess.

2. Monetary or material worth, as in commerce or trade: This piece of land has greatly increased in value.

3. The worth of something in terms of the amount of other things for which it can be exchanged or in terms of some medium of exchange.

Do you realize your value, at this moment in time, to a project, production, group, or other industry related activity designed to move your career forward?  You’ll need to be confident in the value you provide so that if you’re not getting paid, you at the very least, get your value in return.  So is working for free a good idea?  Consider this:

  1. If they are making or will be making money, you should be too (yes – even if they are your friend).
  2. The right job that shows off your creative genius is worth doing – but stick to groups that are similar in experience to you. As a general rule, if the people you’re working with are doing it for the love of it, the experience, or the possibilities for all concerned rather than the money, then you are all in similar positions and growing together and that’s a good thing.
  3. If you do choose to work for free, make sure they know that they are lucky (because they are), and how much you would normally charge for your work. I’m not suggesting you be cocky, but rather subtly ensure that they know you’re on an equal footing to them. Using the word ‘collaborating’, can be especially useful in driving this home. Remember though, the goal is to win friends and influence people. And once you’ve got your foot in the door, wiggle it around so you get some standing room!
  4. Know how to pick a winner. If you see a young Steven Spielberg, Judd Apatow, or Julie Taymor who wants to form a bond, by golly build your bridges.

Unfortunately when you start working, whether paid or unpaid, you’ll more than likely learn some lessons the hard way. But if you follow this advice, hopefully you’ll come out with some good experiences, some contacts, and a great resume credit or reel clip.

To make sure you do get that clip, my friends at Performer Track came up with a wonderful contract that you can ask the producer to sign ensuring it.  You can also use it if you are a content creator hiring actors for your project.  It’s smart because anything signed and agreed to in writing by two parties becomes legal and binding. Though you probably will never actually take someone to court over this (though you could), just by having them sign it brings significance and importance to your business.  And you’ll begin to develop the habit of negotiating for yourself and protecting your actor asset…which has great value!

Download this valuable contract here.

Any comments?  As usual, I’d love to hear your thoughts!

Your Acceptance Speech. Who Will You Thank?

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The GOLD standard of success for actors is receiving an Oscar! Yes, it’s an honor to be nominated and be recognized for your talent by your peers, and that truly is an accomplishment in and of itself.  But imagine, really imagine yourself winning.  Who would you thank?  Your talent agent and management team of course, and often the casting director as well as the producers, co-stars and crew, your mom, spouse and family, your high school drama teacher…(play off music begins!)

Why wait?  Thank them now!

The list will certainly grow and change over time, but you’re doing a heck of a great job and have lots of people in your court.  Have you told them how much you appreciate their support and efforts?  This simple act alone will speed the plow to that day when you too could be standing there with a statue. The people you acknowledge will appreciate and remember you, the Universe will respond in kind, and as a bonus YOU will feel great doing it.

Every casting director you meet and audition for from here on…thank them during and after in a follow up message.  Thank the agent who called you in, sent you out, gave you feedback.  Don’t wait!  Send a note to the teacher who cast you as Peter Pan or Cinderella or third tree bush from the left in 2nd grade.

The time is NOW to acknowledge all of the efforts of the individuals that make up the team that will bring you to the glam, glitter and accolades bestowed upon you on Oscar night. Gratitude will get you everywhere!

Lest you read this and think it’s an awesome exercise that you’ll do later or someday, I truly urge you to strike while the iron is hot.  I’d love for you to write in the comments below, your Oscar acceptance speech right now…off the cuff, unprepared, as several of the greatest speeches made by past Oscar winners have done.  Feel good today! Who will you thank?  Let’s year ya…

The Show Business Food Chain

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Look at show business like a pyramid.  Not a pyramid scheme, but like a numbers diagram with the largest amount of the show business population being the at the base…that’s you, the actor.

You’re not at the bottom of the food chain because you aren’t important, you’re at the bottom because there are so very many of you (approximately 50K new actors enter the U.S. marketplace every year!)…more people than any other type of person involved in the entertainment industry.

So who is next up on this pyramid?  Agents.  Yep, actors are all seeking representation to enhance their network of relationships and get to the next level, just one step above where you are on the food chain!  There are fewer agents and managers than there are actors…but you knew that!

Talent agents and managers are lobbying and pitching and submitting their clients for the audition slots offered by casting directors.  Yes, they are next up on the ladder and there are more agents/managers than CD’s, thus it follows agents often feel in the same position of  knocking on doors trying to get in.

Who do casting directors fight to get in the door of, serve, get work from?  Though generally hired and paid for by the producers, ultimately their job is to please the directors of the project they cast for, fulfilling the director’s vision by bringing the best possible candidates for the role directly to them, making their job easier.

And who are directors out there trying to please?  The producers that hired them and provide their paycheck.  Of course the director also wants to please the audience that will ultimately watch the film, TV show or play, but the ticket buying audience has to, well, buy the ticket! The director has the responsibility of creating the whole project, setting the tone, telling the story, and if all works out, the producers are pleased because the project is not only a creative and critical success but a financial success as well.

Some will argue my last point, but at the top of the show business food chain is ultimately the writer.  If we don’t have prolific, visionary writers shaping story to move, touch and inspire audiences, then we have nothing to produce, direct, cast, represent and ultimately act in.

Therefore, a HUGE tip for actors is to become friends with, get to know, network with and create relationships with writers or just become one yourself.  Ultimately these story tellers are the ones that shape our views and ultimately, the world.

It’s really all about the numbers, not status, worthiness or value…and it gives you the opportunity to see that defining your product, shaping your message, and marketing yourself consistently is ultimately what show business is all about.

What are your thoughts on the hierarchy of the business of show?

How the “Breakdowns” got Started over 40 years Ago

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The term breakdown was actually coined by the creator of Breakdown Services in 1971.  Gary Marsh was the son of a prominent agent at the time and the story goes that he was asked to fill in on a particularly busy day doing for his mom what most agents did at that time to get their clients work.

In those days scripts were not allowed off of studio lots for privacy and security, so agents went there, read them in producers’ offices and wrote short synopses of the characters in the film or TV show.  They would then “pitch” their actors to the producers or casting directors for these roles and audition appointments would be set.  This was a very time consuming process.

When Gary returned with a well thought out and detailed description of several scripts that day, his mother the agent asked him to do this job regularly, thus freeing her time for more pitching and negotiating.  Observed by other agents, he was then asked to do the same thing for them.

“What do you call your service?”  “Hummmm” he pondered, and in a moment of divine inspiration called it a breakdown.  Based on taking the script’s storyline, it was the “breaking down” of the characters seeming age, archetype and humanistic qualities, put into a cohesive few sentences and used to decide which actors might best fit the particular project.  Breakdowns are essentially how all roles in all film, TV shows, commercials, theater, etc. are cast.

Like Kleenex, which is a brand of tissue, the term Breakdown has become the universally accepted word for a character description.  Gary created an entire industry and continues to serve the community today with Breakdown Services,  ActorsAccess.com and CastingAbout.com.

Nowadays there are many online companies that put out breakdowns.  But Breakdown Services remains the largest, most respected, and most copied business out there.  Gary is a personal friend who I’ve known for almost 2 decades and his dedication to actors and the business of show is his purpose in life!

For you and your purpose to be fulfilled as an actor, finding the alignment of your “product” and a breakdown is the KEY to gaining traction and forward momentum faster.  Here’s a perfect example of a breakdown for my own actor product:

[MARY LAZARUS UNDERSTUDY] Female, Caucasian, 40s–50s. Needs a powerhouse alto belt singing voice, comic chops, and movement ability. To appear in the onstage ensemble as a nun and understudy the principal role of SISTER MARY LAZARUS (Tough, full of vinegar and humor. She’s seen them come and go, and nothing fazes this Sister. She’s quick on the wisecracks and always ready to roll up her sleeves and dig in). ENSEMBLE

Why an understudy and not the lead for me?  Because I haven’t been in a musical production for several years and this is more in alignment with what I’m apt to be cast in. Can I do the lead?  Of course, but if the casting office doesn’t already know me, then it’s likely they’re not inclined to take a chance until I’ve proven myself a bit.

Alignment in both the art and craft of a role as well as where you are on the business spectrum (networking, known by the office, history on resume, etc.) is a balancing act and knowing where you fit in with regard to a breakdown will ultimately help both you and your talent agent or manager when you’re working with one.

Have you seen a breakdown lately that you’re perfect for?  Share it with me in the comments below.

Contacting Industry (Agents/Managers/and More) On-line

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Let’s start again with the premise that shorter is better.  Long, drawn out explanations about you, what you offer, the reasons why you became an actor, and why you are a perfect fit for this job, agent, role, etc. won’t get read.  Cover letters are out.  Cover notes are in.  But you still need to communicate all of the above.  How?  By shifting your approach in a huge way so you get your message across quickly.

The goal of  “regular” writing for most communication is to inform or entertain.  Newspapers, magazines, fiction and non-fiction novels.

The goal of copywriting for ANY business is to get people to do something, to take action or at the very least take notice.

In essence your message is the copywriting part of your campaign to attract a rep, introduce yourself to a casting office or other industry contact, and these days it’s likely this will be done on-line.  But don’t worry, I’m still a fan of hard copy mailing and follow ups, as are a lot of other industry professionals.  This works for both of these formats.

There are 6 steps of an effective copywriting process:

  1. Research – who they are, their wants and needs, their past experiences.
  2. Determine of the goal of the message
  3. First Draft
  4. Revise, rearrange.
  5. Send
  6. Constant Follow up

By the way if you don’t have the answers to what you offer, why you’re a perfect fit for a job, agency, etc. or they “why” you’re an actor in the first place, I urge you to go back and read some of my previous posts on these subjects.  In essence a note that you send should not be about what you want but what you provide.  And the key to it all is why you’re a fit and in alignment with what the other person is looking for.  Do your homework first and writing the note will be easy.

“You don’t stand a tinker’s chance of producing successful advertising unless you start doing your homework. I have always found this extremely tedious, but there is no way around it.”
— David Ogilvy – Father of modern advertising (lived until 1999…created Ogilvy and Mather in 1949…the most powerful ad agency and still is today…seen it all, through the early internet)

David Ogilvy had the task to do copy writing for a Rolls Royce ad. He spent three weeks reading about it before he came up with the headline and the rest of the copy.  In emails, think of your subject line as your headline.

While he was talking about traditional advertising, it equally applies to your doing research on the people you are communicating with.  This is the number ONE mistake actors make in this area.  No research.  By the way, unlike David Ogilvy, I believe this can be a ton of fun. Learning about how other people got to where they are, their likes and dislikes, taking notice of another person’s life…I find it extremely interesting and delightful!

In marketing, it’s your job to figure out why people need you, how they need you (casting directors are different than agents are different than producer/writers, etc), what they need you for SPECIFICALLY, and what really matters to THEM. If you don’t have this figured out, you really cannot write a message that will be meaningful and therefore it’s a waste.

You have to interview people.  Find out what they think about your kind of your product, what language they use when they talk about it, what attributes are important to them, and what skills, talents, and unique qualities would most likely convince them to choose you.

Take these answers and then give them bullet points.  My template for a great, short note accompanying a submission for a rep or for a gig is this:

Salutation – this is an acknowledgement of them, the person you’re writing to.  “Congratulations on 10 years as a agent”, or “I loved the article your wrote in Backstage”, or “I so appreciated your comments at that discussion panel”.  Acknowledging them puts them in the right mindset to receive what you write next and creates an immediate connection.

Bullet Points or 2 to 3 short sentences – “I’m new to LA after 10 years as an actor in Dallas” and “I play witty, sarcastic, quirky, girl next door types” and “My last audition with CD so-and-so resulted in a callback”.  There literally are a million variations on what could be written here to describe what you’re offering.  Everything else is on your resume so there’s no need to repeat that info here.

Closing – This is your request for a meeting, a thank you for reviewing your materials, or an invitation to your show.  Again, it has to contain the request for the action you wish for them to take.

This copywriting, done correctly, will speed the process of you connecting to representatives and other industry because it will get read!  I can tell you, because you already know, that when someone opens an email or letter and they are busy, which we all are, then something short and sweet that looks like it will take 10 seconds to read will get read.  Something that, at a glance, has paragraph after paragraph and seems like it’s going to take longer, won’t get read.  And honestly if they have the time to read it, they’re not busy enough and you’ll hear crickets chirping when you meet up with them!

This is the way of the world in the business of show right now.  Adaptation is key.  Shorter is better.

Your comments?  Please let me know below!  As always, here’s to your success!