Phone Skills

[elser]

Yo 'tsup!In talking casually with friends the above greeting might be typical for me. But I've been reading Jeff Fisher's "Cash Tracks" lately in which he talks primarily about aggressive self promotion as a composer.I've always felt that my phone skills are lacking, and I guess it's partly because 90 per cent of my close friends are working musicians and as a whole I think we're a rather crude bunch. I've almost systematically rejected anything that appears 'professional' or 'white collarish'.I wonder who here feels that they are able to strike that balance of musician and business person? How do you present yourself on the phone? Do you have in mind a specific image or persona that you try to relate?Just lookin' for tips. Thanks, Elser

[jwebbinspired]

Elser, Great topic! I'm sure it has much to do with my upbringing, business education and work experience...but I talk to industry folks very professionally. I always remember names (always write them down, even the person who answers the phones). Phone skills are to an independant musician as a business suit to an interviewee. I've done a stint in sales and many years as a buyer. I think I understand more than most how music publishers feel when they get bombarded by material. I've had a salesman talking my ear off with two more sitting in the waiting room....add the phone skills of most musicians and wala you have "do not accept unsolicited submissions." Publishers are business people. They are long past the love affair for the art of music. They don't look at music as "bad" or "good" they look at music as "money made" or "money pit." They are only looking for widgets to meet their demand and nothing else. And unfortunately MANY, MANY musicians take it personally when a publisher chooses to "pass" on the music of their soul. So the number one thing I do before picking up the phone is understand that the person on the other end of the phone does not need me. And good phone skills mean a LOT and poor phone skills mean a LOT. Besides this is usually the extent of your relationship...unless your a staff writer. What I have found to be key elements to a professional phone conversation: "Good morning/afternoon" (unless you have a relationship with the publisher and it is accepted to greet in other fashions-something formal is best) "This is..." (introduce yourself, if you have any connection, a requested .mp3, a cousin who knows the Creative Director, whatever, say it so they realize you are somebody that want to talk to)....(thanks to a lot of idiot songwriters/composers most publishers don't accept unsolicited submissions) "I was calling..." (get to the point, music publishers are BUSY people. I heard somewhere that 1 week to you and me is virtually 1 day to a publisher, that's how backed up they are.) Before hanging up thank the individual by name. This underlines the conversation as a professional experience to the publisher. I'm sure others have some really good input. Maybe even some good examples. Andy

[elser]

Hi Andy,Excellent reply, thank you very much. Those are exactly the kind of tips I'm looking for and not really addressed that much in the music profession literature (though I haven't read that much of it).Thanks again, Elser

[andreh]

Hi Elser-Great question that we should all be thinking about, and a great response from Andy.I think a business-like approach is good when beginning relationships, but remember that your potential client is also a person - so don't be afraid to show a more casual side of yourself at the appropriate time. Take it from someone who has a tendency to come off as "stiff;" most people don't respond well to that sort of demeanor.Fortunately our music will do most of the talking (for better or worse ), so in the end finding a good balance in our communication methods shouldn't be that hard.HTH,André

[devin]

Great thread Elser!My business skills are thankfully serving me well this year, as I've started working with a few libraries. I also find these skills VERY important when working with co-writers and composers too...sometimes it takes tact to share how the music libraries seek out publishing rights, etc, and help a fellow musician overcome the "they're stealing our song!" bad moments. Of course, you can turn to your buddies and say "Dude! 100% of nothing is squat you turnip, let's put these libraries to work. What are the chances you and I run in Mr. Speilburg?!? Didn't think so...let's do what we do best, and leave the contacts to the cats that are hooked up, dealio?!?"My background (day gig) includes management and training in both union and non-union environments (and I truely love all these scenarios). The only way out of a tough situation is to understand what the parties need and want.For music I've taken this approach:#1. Understand my product and my personal skills and that of my co-writers. I have to know exactly what I can offer going in. That's kind of the beauty of meeting music directors and presidents via Taxi: I already know they understand my strong genres if they are calling me about a forward.#2. Find out what they need. DO NOT AUTOMATICALLY TRY TO SELL WHAT YOU HAVE. They come first. As much as they need us (and they certainly do, André has been brilliant in stating that very recently), in this relationship we are first trying to help them supply for their end clients. We need to discover what they need (and the quicker we do this, the better, as they are very busy folks).#3. If you have to, decline from helping them out if you really can't pull off what they need.I recently closed a deal with the president of a company, last Thursday, and I took the opportunity to close with this quick conversation:Me: "I'm excited we could help each other out...but before I let you go, can you quickly share with me the top genres you are presently adding to your library?"Client: "Bluegrass and Waltzes"Me (not having any of these two song types on the shelf or in the works): "I'm planning on starting a few projects along those lines (which is the truth), but nothing ready to pitch just yet....Thank you very much for the deal!"Client: "Thank you for the music...now I have to go and find a home for these songs!"Me (honest laugh): "Please do! Thanks again..."I can flip you a couple of the early e-mails too, if you think that would help?Don't be afraid, but be honest and straightforward. They are not going to guess at what you're thinking!

[squids]

I do what Andy does except I write down everything, the day/date they called, their names, what was discussed (I have a lousy memory for names if I can't put them to a face and say them three times in a row ). I tend not to use slang and I try to put a tight rein on the accent as well, since there seems to be some perception that folks with a southern strain of speech are stupid. Which is, well, stupid. But I do it anyway when I'm tense or anxious....... I'll automatically speed up my speech which helps cut back on s'uth'n chat anyway. Their loss, not mine. I don't hafta talk ta sign a contract.

[mazz]

Check out Dan Kimpel's book:http://www.amazon.com/Networking-Strateg....02629 06&sr=8-1I went to his class a couple of Road Rallys ago and he was very inspiring and right on the money.IMO, You have to be a different person depending on who you are talking with. If it's a first time conversation, yo 'tsup! might not be the best greeting until you get to know them better.Professional doesn't necessarily mean "stuffy" or "white collarish" in the music business. Going to Road Rallys really turned my head around as to the general vibe of the "insider" side of the music business. "Hey, these people are a lot like me, they love music and they are trying to make a living from it! Wow, we're more on the same page than I realized!!"If you are comfortable with who you are and are respectful and genuine, then that comes across. If you are uncomfortable and "trying" to be "professional", then, guess what, that comes across too!Good business skills take practice just like playing those Charlie Parker solos on a kazoo!I bet that you are better at "giving phone" than you think you are.Working musicians are definitely a clique-y bunch and I suggest broadening your social circle!!Good luck!Mazz

[sgs4u]

Apr 20, 2009, 2:54pm, mazz wrote:IMO, You have to be a different person depending on who you are talking with. If it's a first time conversation, yo 'tsup! might not be the best greeting until you get to know them better.Professional doesn't necessarily mean "stuffy" or "white collarish" in the music business. Going to Road Rallys really turned my head around as to the general vibe of the "insider" side of the music business. "Hey, these people are a lot like me, they love music and they are trying to make a living from it! Wow, we're more on the same page than I realized!!"If you are comfortable with who you are and are respectful and genuine, then that comes across. If you are uncomfortable and "trying" to be "professional", then, guess what, that comes across too!MazzI'm loving Mazz' advice, as usual. Every relationship is different, and sometimes saying the same appropriate things on a different day will come across inappropriate on another. If you come from the perspective of trying to gently discover how you can make that person's life a little better, find a way for them to look forward to your next call... you'll win new working relationships more often than not. And you can't win them all over. Maybe that's just me...

[jwebbinspired]

Both Mazz and Steve are very right...I was focusing more about talking to a publisher for the first time...building and maintaining a relationship is another whole game. My industry contacts are minimal at this point in my career (I'm on the country/ccm songwriter scene), so Mazz and Steve will have much more advice concerning this......the main thing to remember is not to pester your contacts, you want to be useful everytime they talk to you, so don't call them unless you have something you're willing to stake your career on...otherwise you're wasting their time and/or throwing away an indsutry contact.Andy

[mazz]

One thing I learned and I try to keep in mind when I'm talking to a business contact whether for the first time or not:It's not about "what can you do for me?" but rather, "what can I do for you?". And then shut up and listen very closely to their answer. Still practicing that one!! Mazz