Volume 1
Issue 8
February, 1998
Home
Past Issues
Links
Banner Exchange
E-mail
Table of Contents
Torn and Frayed, Artist of the Month
FOCUS ARTICLE: The Jingle Business
Interview: Cary Bass, Jingle Producer
Around the World in February
Mainstream
Top Five Albums
IF YOU HAVE TROUBLE VIEWING, PLEASE TRY RELOADING THE PAGE
February 10, 1998
Is the third anniversary of the death of our only children
I invite you to view
Gwendolyn and Gabriel Cauley's Memorial Page
Thank You, C.J. Cauley (Editor)
Torn and Frayed
Artist of the Month
From the heavy guitar licks of "Such of a Queen,"
to the slow steady steel strings in "Daisy," "Hysterical Flights of Imagination"
will capture your imagination throughout. The title track from Torn and
Frayed's latest CD digs deep into your psyche, revealing the struggle
faced by someone considering suicide. You may think it's a rather morbid
theme, matching their CD cover picture of St. Sebastian filled with
arrows, but a recent study shows over half of the U.S. population
considered suicide between the ages of 13 and 25. That means Torn and Frayed are not only hard rockers, they're also in touch with their audience.
With heavy sound, but light
hearted lyrics, "Such a Queen" gets the CD started on LOUD and firm footing.
My favorite tune by far, though, is "Always To Be". I've said a million
times 'I'm a fan of ballads"! "Always To Be" is absolutely radio ready,
as is most of the CD, but it has that certain extra spark that says
'hit'. Torn and Frayed is Chris Caleo on vocals and mouth organ,
Doug Myer on guitar, Phill D'Ancona on drums, and Abe Frishman on bass.
Caleo's scratchy voice ads an edge to hard hitting cuts like "The Causes
of Illusion," "Cara," and "You Got Nothing Down On Me, You Whore."
His energy brings light to "Always To Be," and "Save Me".
Once again, I'm slapped
with in-your-face rock/metal well deserving of radio airplay. Torn and
Frayed are on their way. Their first big break was having three of their
songs featured on NBC's "Homicide, Life in the Streets". Now, back for
their fifth appearance, (or a-hear-ance in this case) their rendition of "Precious Lord,
Hold my Hand," written by legendary gospel singer, Thomas A. Dorsey,
will be featured on the Friday, February 16th episode (10 pm eastern, NBC).
The band boasts about the acts of violence performed on the show while
one of their songs played. Also featured on previous episodes of "Homicide,"
were "Reason," "The Gods Wear Many Faces," and "Keep Your Hands on the Plough".
With national television exposure, surely, a record deal isn't too far behind.
This New York foursome is a force to be reckoned with.
Torn and Frayed
Our CD "HYSTERICAL FLIGHTS OF IMAGINATION" is now available
For ordering information,
Send e-mail to: Sulla4@aol.com
FOCUS ARTICLE--The Jingle Business
The advertising industry has created
many opportunities for the not-so-rich-and-famous music maker. Jingle performance in particular is a great way to
make money with your music, and get your music played on radio and television. It's great exposure. There are four phases you can
be involved with: vocals, music, writing, and producing. You can participate in all, some, or just one part, which leaves the door wide
open. Over 80% of all broadcast advertisers use music in their commercials. Some songs are changed into jingles, like that 'Gonna Buy Me A
Ford Truck' commercial, and some jingles become songs, like the Carpenter's "We've Only Just Begun," which was a bank jingle first.
We'll look into all four aspects of jingle performance, and following this article is an interview
with Cary Bass, a successful jingle producer. You'll find several links throughout the article, click on them to view samples.
The first two roles in jingle performance, singer and musician, go hand in hand. If you
only want to be the talent on jingles that are written and produced by others, you need to treat it much the same as selling yourself
to a record company. First, you need a demo. The ideal demo will contain about five minutes worth of jingles. If you haven't been
commissioned to perform on a jingle, you can write your own, or get with others to put a few together, even if the companies are
fictional. You may even want to form a partnership with others who are looking to write or produce jingles. You should have many
different styles on one tape, if possible. You can record it on a home studio with high quality tape, but I really suggest treating
it the same as a regular demo, and produce it in a recording studio. If you really can't afford to do this, you can try sending a song
demo. Once you have the first jingle under your belt, you put that first on the demo, along with two other songs and eliminate one
song per jingle thereafter until it's all jingles. You may want to make the songs shortened versions to ensure that it is listened to in
it's entirety.
Now comes the question of who to send it to. Since you're only wanting to be the talent,
you don't want to send to the advertiser themselves, but rather the advertising agency that they use, or the production house that the
advertising agency uses. Most advertisers that put money into radio and television advertising use advertising agencies. Radio and
television stations also produce jingles, so you'll want to contact them and ask if they write in house or use an agency. Most use an
agency, but a lot of disc jockeys moonlight in jingles, and they may refer you to them. If you live in a major hub, you may have a
wide selection of jingle houses to choose from as well. They are dedicated only to jingles. Be sure to
get the name of the creative services director if you are contacting an agency. Listings of advertising agencies can be found in the "Standard
Directory of Advertisers".
When sending to an
agency, you may want to send a query letter first, asking for
permission to submit a demo. This is just a letter with a self-addressed stamped
reply card that simply asks if they'd like
to receive your tape. (You may also wish to include a reply card in your
submission package to insure that your tape was received) If given permission, that would be followed by your package. Your package is similar to a regular demo package, which was
described in detail in our October issue
of SHOCK VALUE. You would still include a cover letter,
and if you sent a query letter, you should mention that right off. You should also mention a specific time when you'll be calling to
follow up on the submission. It would, of course, contain your demo, with a detailed label.
It could also contain a small press release
as well. The only thing after that is the follow-up call.
Freelance writers of jingles
will follow the exact same steps as above. You will send to the same
people, send similar letters (stating that you are the writer), and your
demo will be the same. It doesn't have to be your voice and you don't have
to play all or any of the instruments, you don't even have to be the
person that produced it, as long as you don't mislead the receiver into
thinking that you are. Follow the same guidelines set in the samples above
and adjust them to read "writer" rather than singer. There is one
exception on the receiver list. Freelance writers may also send to small
business owners. A lot of small businesses can't afford advertising agencies,
and would be willing buy a jingle. Your best bet is to send a query letter
asking them if they'd be interested, then write a jingle especially for that
business. You can send them your demo, but they would be more likely to
buy if you made a jingle just for them.
You do NOT want to send to
the big boys like McDonalds,
Coke, Pepsi, etc., especially unsolicited. The reason being, they pay
millions to advertising agencies to write and produce all of
their commercials. If the agency did listen to your tape, and sent it back
with a nice rejection letter, then a few years later produced a jingle that
sounded even remotely like yours, they would be leaving themselves open for
a huge lawsuit. You WILL get your tape returned to sender, unopened.
If you are absolutely convinced that your jingle has to
be heard, make sure you send a query letter first. You should get the name of
the account supervisor and the creative director that work on the account
that you write the jingle for.
If you want to be hired as
a writer, rather than freelancing, you would treat that the same as trying
to get hired for any job. It's a career change, make sure you're ready for
it. You would send a cover letter and resume,
along with your demo to advertising agencies, jingles houses, if they are in
your area, and production companies. The same would be true for a producer, in that it
would also be a job hunt with the same guidelines. If you'd like to be
a freelance producer, follow the steps of the singers and musicians. You
should still send to production houses as well because sometimes when they
get back logged, they may send certain projects out to a producer that has
proved him/herself capable. Another option for producing is actually
becoming a jingle house, or production house. That would entail capital,
though, since you would need to have a decent recording studio.
Finally, if you would like to be the writer, singer, musician, and the producer of jingles, you would need a home studio. The studio wouldn't have to be top of the line, but it would have to be of moderate quality to produce professional jingles. You could call business owners to get accounts, but you should also contact the advertising agencies. Many of them subcontract producers to spin out jingles. They may also be preparing to dump their jingle or production house. Jingle houses only exist in major cities right now, but with the inevitable coming of digital television, which will in effect give one TV station up to five channels to broadcast on. This means you're going to see a boom in the advertising and broadcasting industries. Jingle houses could effectively start popping up all over the country, be prepared.
Finally, jingles are not the only form of music that is featured in commercials. There is instrumental background music, and there are other mediums that use songs. A lot of spots (commercials) use music found in music libraries. The music library business is also growing quickly. Music in a music library is, of course, not custom made for the commercial, and is referred to as "canned". Canned music is usually part of a CD compilation or collection. It is then made available to producers for use in commercials, films, videos, multimedia CDs and discs, and audiovisual productions. There are two kinds of music libraries that you need to be aware of.
The first, "needledrop", are licensed libraries. They use a rate schedule to license music to producers. Producers who utilize this music must pay a license fee every time it's used. The library can charge different rates for the same music depending on what the producer is using it for. A piece being used as a theme to a movie will cost the producer more than a piece used in a commercial. The second is "no-needledrop", which are buyout libraries. No-needledrop music libraries sell the music outright to producers, who can then use that music as often as they want without paying out anymore money. Submitting your demo to music libraries follows the same criteria as jingle submissions. Check out "MIX", "AV Video", and "Videography" magazines for a listing of music libraries.
When submitting, keep a few things in mind. Just like your regular demo package, make sure your name, and phone number is on absolutely every piece of paper, including your tape/CD label. Make sure your presentation is neat, and typed, again, including the label. Put your package in a stand-out envelope. This may sound odd, but absolutely ever publication I have consulted on the subject has suggested this. Be professional. Use Ms. and Mr., make everything to form. If you have a great speaking voice, don't hesitate to combine your jingle with the spoken word. Most spots have a jingle at the beginning, followed by a music bed that an announcer speaks over, then a closing jingle. These are called doughnut spots. Voice-overs are a lucrative business. If you choose to combine voice-overs with your jingles, make sure you send to radio and television stations as well as advertising agencies, jingle houses, and production houses. The submission method is the same as jingles. Please visit the samples above to help you with your package, and GOOD LUCK! Please feel free to offer your ideas for a focus article or submit your own via e-mail: SVwebzine@aol.com
INTERVIEW--Cary Bass, Jingle Producer
Cary Bass, a 37-year-old jingle producer, has been in the jingle
business for over ten years. He works for JAM Creative Productions in Dallas. Rather than
writing an article that incorporates our questions, we decided to just print the interview in
question and answer form in its entirety:
Q: What sparked your interest in the jingle business?
Cary Bass: When I was growing up in Dallas, Texas, I was exposed to great I.D. jingles on the radio. These seemed to embody not only the personality of the radio stations, but a deep emotional, traditional aspect as well. They could be heard on classic Dallas stations like KLIF, KNUS, and especially KVIL. A lot of this emotional aspect I speak of is admittedly in the perception of the listener, but all to the better. Whenever we left town for vacations, coming back within listening range and hearing the call letters "KVIL" sung as if it was a benediction always told us we were almost home.
I ended up falling into radio midway through college. The first day I put on the headphones, a promo was running for Ray Durkee's "Sunday at the Memories", which concluded with a rich, classic, many-layed vocal. I was so mesmerized that I forgot I had to hit the turntable to play a song! Anyway, I didn't even know what a jingle was CALLED until a friend at my first radio job told me, because she had toured a "jingle factory" in Dallas. I came to discover that Dallas is the worldwide epicenter of radio jingle production.
Q: How did you get started?
Cary Bass: Over the ensuing ten years, as I moved into radio programming, I became increasingly frustrated that the stations I worked for didn't see the need to spring for jingles. They didn't recognize the positive impact that a sung I.D. could do for the station. Radio is show business, and jingles certainly SOUND like Show Business. I just didn't get their attitude.
I had always been fascinated with radio production, and that led into an interest in song production. By the time I was 27, an ad appeared in "Radio & Records" magazine, a bible of the broadcasting scene, from JAM Creative Productions in Dallas, looking for a production person. This company had been an industry leader for 15 years at that time, and I had always been intrigued. They did the jingles for WABC/New York, WLS/Chicago, Radio 1/UK, Casey Casem, David Letterman, you-name-it. They were at the top. I stayed up all night putting together the most killer production demo I could conceive of. I wrote a cocky cover letter saying that I had pushed the envelope of two-track production and was ready to move on. Unbelievably, it worked and they called me the minute they got my package. However, it turned out a week or so later that changing circumstances forced them to decide not to hire somebody extra. I took it in stride, because at least they liked me. A year later, they called again, and I went for it.
Q: What skills do you feel one needs to succeed in the jingle business?
Cary Bass: I think you first need a great deal of patience. Jingles don't just come spilling out of people in one titanic gush ... they are handmade and take time. At JAM we chiefly create radio I.D.'s, and just to produce a single 5 second custom I.D. can take a week or more, what with conception meetings, writers, musicians, singers, engineers, post-production ... and a myriad of roadblocks can pop-up ... so patience is paramount.
Secondly, as a writer, you need to be well versed in all types of music, because all types of requests will come to you from clients. Often clients don't know exactly how to name what they want because they aren't musical experts (though some claim to be), so it is your job to BE the music expert. So a huge background is vital. Going into the jingle business thinking that Grunge or Trance is the living-end just won't cut it. You've got to go deep.
Thirdly, you have to have a sense of haiku, of editing. Our particular jingles have to bring you the World in 5 seconds. Not everybody can do that. It's a skill.
Q: What is the most challenging aspect of your job?
Cary Bass: I started in the post-production end of the business. Over the ensuing eight years I learned everything I could about every aspect of the business, including learning about the people. When I eventually moved into sales and marketing, this knowledge became invaluable, because not only do I market and sell our product, in many cases I have to oversee individual projects, and that means working with people and negotiating and pushing and prodding and putting in long hours in order to get a project done to the client's satisfaction. It's a balancing act. I have to have all the answers for everybody, and at times that can get daunting as well. Finally, I am paid straight commission on every project I do, so there is also the challenge of making rent every month!! But, this final aspect also frees me up to be creative in choosing which projects will be both exciting for the staff to do, as well as profitable for my company and myself.
Q:What do you like most and least about your job?
Cary Bass: I like coming to work every day with stubble on my face and wearing tennis shoes. I like the easy going atmosphere of working with artists and professionals who are at the top of their field. I like the many and varied people who come through our doors from all over the world. I like the friendships and business relationships I've established with "giants" in the radio industry whom I used to only read about. I like the Friday cookouts we have on the back deck of the building during the springtime. But most of all, I'm proud to look at all of the product we've created and know that it is the best there is.
I like least having to disappoint a client, and then having to effectively communicate that disappointment to my co-workers. In every business atmosphere, there are bad days, and the jingle business is no exception.
Our particular clients, people in the radio business, operate in Crisis Mode 24-7. Some of them are complete angels, and others are bullies. This mode of work is in direct opposition to the methodical processes of a recording studio. Whether through equipment malfunction, or illness, or any number of unavoidable circumstances, when we can't deliver as promised, this is always unpleasant, no question about it. Sometimes the client doesn't allow enough time, or adequately state what he wants. Sometimes clients lie. Sometimes we fall short because of scheduling conflicts or miscommunication. Sometimes I forget a vital detail. That's never fun. But, once again, this is where skills in negotiation and frank communication are things you can't do without if you want to survive. You grin and bear it, and things usually work out.
Q:What advice would you give to someone trying to get into the jingle business?
Cary Bass: Be patient, but persistent. This is a part of the music business, and timing and the alignment of the planets have a lot to do with whether you get your foot in the door. For instance, I happened to have the background and the qualities they were looking for when they were looking for a person who had them ... that's incredible luck. If you're a musician or a writer, get a GOOD agent (which is hard to find). Network with other writers and musicians. They're competitive to a point, but the good ones are always willing to help somebody with talent ... after all, you may get them a job some day!! Also, when you put demo tapes together, make it the best you can. You are showing off your skills. Little things like using bad tape or poor recording quality are tip-offs of unprofessionalism. Also, you won't get rich in the jingle business, but there is the possibility of being comfortable. Some jingle writers, like Barry Manilow or Paul Williams, went on to use their knack for writing catchy hooks into building great songwriting careers. And don't sniff ... you'd be surprised who else famous is writing jingles on the sly.
SHOCK VALUE would like to thank Cary Bass for speaking with us in the first of what we hope will become a regular feature.
AROUND THE WORLD IN FEBRUARY
Not-So-Rich-And-Famous Music Makers
This section of previous concert dates has been deleted. For current concert dates for unsigned/independent music makers, please visit the latest issue of
Shock Value Music Webzine. If you'd
like to know about mainstream tour dates, visit
POLLSTAR. Please send us your concert dates: SVwebzine@aol.com
MAINSTREAM
Tidbits on Mainstream performers
Marilyn Manson Fan Pleads Not Guilty
Last month in New Braunfels, Texas, a Marilyn Manson fan plead not guilty to a charge of "obscene display". John Schroeder also requested a jury trial, and is being represented by the ACLU. Schroeder's shirt contained lyrics from the Manson song "Cake And Sodomy" containing the f-word. (this is AOL, we can't use the word fuck) An off duty cop busted the 18-year-old while on a shopping trip with his mother. Schroeder reportedly offered to remove the shirt, but the cop, who apparently had nothing better to do, arrested him. Schroeder was carted off in handcuffs in front of a mall filled with people, spent some time in jail, and paid $125 fine. He now faces a $500 fine (that he won't have to pay if there is any justice in this country) on the misdemeanor charge.
Bobby Brown Found Guilty
Singer Bobby Brown was found guilty of driving under the influence last month in Ft. Lauderdale, Florida. With wife Whitney Houston by his side, he was sentenced to five days in prison and ordered to enter a 30-day drug treatment program. The charges stem from an incident in 1996 where Brown lost control of his Porsche. Brown suffered minor injuries including broken bones, his blood alcohol level was .2, Florida's legal limit is .08. The police also reportedly found drugs in his system. Brown is free on bond pending an appeal.
MTV Seeking Cobain Fans
Attention Kurt Cobain fans: MTV wants you! They are looking for fans that Cobain had a huge influence on to speak on camera about him and his music. They are also in need of video and audio footage, film, posters, photos, any memorabilia of Cobain, with an emphasis on performance and interviews. If you meet any of the above criteria, you could be part of a research project, just e-mail: mtvspecial@aol.com.
AMERICAN MUSIC AWARDS, Winners:
GRAMMY AWARDS, Nominees Announced:
http://www.abc.com/ama/
http://www.grammy.com/
For more mainstream music news, check out these sites:
AOL members: Entertainment News - Music -
AOL members: MTV Online - News
MTV Online (http://www.mtv.com/)
VH1 Online (http://www.vh1.com)
TOP FIVE ALBUMS
(Last week of January)
For More Chart info, AOL members can visit Top of the Charts
Non-aol members go to this link: http://www.billboard.com/
TO RECEIVE SHOCK VALUE MUSIC WEBZINE
UPDATES IN YOUR
E-MAIL BOX, ABSOLUTELY FREE,
SEND YOUR E-MAIL ADDRESS TO:
SVwebzine@aol.com
Your address will never be sold to mailing lists!
SEND US YOUR DEMOS, ADS, AND CONCERT DATES:
SHOCK VALUE
P.O. Box 303
North Bend, Ohio 45052
SVwebzine@aol.com
Send us your comments and suggestions!
SVwebzine@aol.com
Select the link below to go to other past issues of Shock Value
Shock Value Music Webzine Past Issues
Select the link below to go to the current issue of Shock Value
Shock Value Music Webzine
Home
Past Issues
Links
Banner Exchange
E-mail
©1998 Shock Value Publishing All Rights Reserved. C.J. Cauley, Shock Value Publishing, P.O. Box 303, North Bend, Ohio, 45052.
SVwebzine@aol.com
Following are the Various Samples Mentioned Above
Sample Query Letter
(notes are in parenthesis)
February 14, 1998 Mr./Ms. Producer's Name Producer's Title (Usually Creative Director) Name of Agency or Production House Address City, STATE Zip Dear Mr./Ms. Producer's Name:I am a freelance jingle writer (or singer, musician, producer, whatever) who specializes in pop music. (put what kind of music you are best at writing, or add if you are also the singer, musician, or producer, etc., see notes) I would love the opportunity to submit a brief demonstration tape for your consideration.
Enclosed, you will find a reply card for
your convenience. If there is any other information that I could
provide you, please contact me at: (555) 555-5555 anytime. Thank you
for your time and consideration.
Sincerely, Your Name Here (Make sure you sign in the space above!!!) Address City, STATE Zip Code Telephone Number, Including AREA CODE! Enclosure
NOTES: Keep your letter short and to the point. Obviously, make the letter fit your situation whether you are a singer, musician, producer, and/or writer. If you are all four, and you would like to be considered for any of the four jobs, put producer up front and add that you also write, sing, and play instruments for the jingles. Again, don't forget to sign!
Follow this link to get back up to
Shock Value Music Webzine, February 1998,
The Jingle Business
Sample Reply Cards
(notes are in parenthesis)
***FRONT***
(Same for inclusion with Query Letter and/or Submission Package)
|
Mr./Ms. Producer's Name
Your Name
|
***BACK***
(For inclusion with a Query Letter)
|
______ Yes, I'd like to hear your tape.
______ No, I am not interested.
Please send demo on:
______ cassette ______ DAT ______ CD (If you have those choices)
|
***BACK***
(For inclusion with your Submission Package)
|
Your demo tape has been received.
THANK YOU!
|
NOTES: Don't forget to stamp your card(s)! Keep your cards short.
You may want to make them stand out in some way,
whether it's the color, or a design, preferably some sort of symbol or
art representing you. A cartoon character of you, or a CD cover background,
etc. would be great. The second card, for your submission package, is not
necessary, only send it if you REALLY need to know that your tape was received
safely. If your query letter was received alright, it's a good bet your demo
will arrive fine also. Also, on the submission card, since you were already
specific on what time you were going to follow in your cover letter, there
is no need to ask when they will get back to you. You don't want
to ask them to sign and date either, they shouldn't have to go out of their
way in any manner, any annoyance will reflect poorly on you, and they won't
send your card if they are annoyed.
Follow this link to get back to
Shock Value Music Webzine, February 1998,
The Jingle Business
Sample Cover Letter
(notes are in parenthesis)
February 14, 1998 Mr./Ms. Producer's Name Producer's Title (Usually Creative Director) Name of Agency or Production House Address City, STATE Zip Dear Mr./Ms. Producer's Name:
Thank you for allowing me to submit my demonstration tape for your consideration. (Leave last sentence out if you did not send a query letter--start with "Thank you for taking time to listen to my demonstration tape") You will find my tape enclosed, as you requested.
The first cut on the tape is
a doughnut spot for Name of Company. This jingle is now airing on
radio and television stations in City.
I hope you enjoy my demo, I look forward to
working with the Name of Agency. I will phone you on Thursday,
February 26 at 3:00 p.m. to speak with you further about any projects on
which you could use my services. If there is any other information that
I could provide you, please contact me at: (555) 555-5555 anytime.
Thank you for your time and consideration.
Sincerely, Your Name Here (Make sure you sign in the space above!!!) Address City, STATE Zip Code Telephone Number, Including AREA CODE! Enclosure
NOTES: Keep your letter short and to the point. Obviously, make the letter fit your situation whether you are a singer, musician, producer, and/or writer. If you are all four, and you would like to be considered for any of the four jobs, put producer up front and add that you also write, sing, and play instruments for the jingles. If your jingles are not airing anywhere, leave the second paragraph out. The exact time in the last paragraph shows initiative and dedication and will catch the receiver's eye, although you still may not get through. Again, don't forget to sign!
Follow this link to get back to
Shock Value Music Webzine, February 1998,
The Jingle Business
Sample Press Release
(notes are in parenthesis)
Letterhead or Name, Address, & Phone Number FOR IMMEDIATE RELEASE:
Q102, the number one radio station in Cincinnati, is just one of many stations in the tri-state area airing Susie Songwriter's jingle for the Kids Helping Kids campaign. This jingle features a slow, sweet melody with a contemporary sound. Susie also performed the vocals, is the featured pianist, and invented our new slogan: "From our heart to yours, Kids Helping Kids".
Susie Songwriter's jingle writing ability has also been
commissioned by many other local businesses, including; Buy-A-Lot Mart,
Must-Sell Marketing, and Illustra Motors which also airs on local
television stations. These jingles vary from pop to rock to country.
For further information, please phone me at: (555) 555-5555.
NOTES: Keep it short and to the point, and DO NOT make anything up. Obviously, make the press release fit your situation whether you are a singer, musician, producer, and/or writer. If you are all four, and you would like to be considered for any of the four jobs, put producer up front and add that you also write, sing, and play instruments for the jingles. If you have never written a jingle before, you may not want to include a press release, or you may gear your release toward other musical accomplishments you've achieved. Even one jingle is enough to base a press release on, although two or three would be better. One more obvious note, replace "Susie Songwriter" with your name ;)
Follow this link to get back to
Shock Value Music Webzine, February 1998,
The Jingle Business
Sample Follow-up Conversation
(notes are in parenthesis)
You: Hi, Mr./Ms. Name, My name is _____________, and I am calling to
follow up on a demo tape I sent you
a few weeks ago. Have you had a chance to listen to it?
(often times, the answer to that is no)
If the answer is no:
You: I know your time is valuable, so could I check back again in a few
weeks to get your feedback?
(most people will answer 'yes' or 'sure' half-heartedly, but you should
still make sure you follow up again. Eventually, they will listen)
If the anser is yes:
You: How did you like it?
(be prepared, these things sometimes get messy, but hopefully you'll get
a good review)
If you get a good review:
You: Do you currently have any projects that I could assist with?
(obviously make this sentence fit your circumstances, if you want to be
HIRED as a writer, you would ask if there are any openings, etc.)
If they say "not at the moment" or something to that effect:
You: Thank you for taking time to speak with me, I'll keep in
touch in case something comes up in the future.
(or something to that effect, use your own words)
If they say yes, they will generally lead the conversation from that
point, or you can ask when they would like to see you, etc...
NOTES: Persistence, persistence, persistence, these people understand that you have to keep calling, so don't think calling often will work against you. Know what you're going to say ahead of time, have the conversation mapped out, especially if you rattle easily. Keep in mind you are not going to get through each time you call. As a matter of fact, it's a rare occurance amongst the bigger jingle houses. Keep the conversation short, respect that person's valuable time. Obviously, make the conversation fit your situation whether you are looking to be employed, or to freelance, etc.
Follow this link to get back up to
Shock Value Music Webzine, February 1998,
The Jingle Business
Home
Past Issues
Links
Banner Exchange
E-mail
©1998 Shock Value Publishing All Rights Reserved. C.J. Cauley, Shock Value Publishing, P.O. Box 303, North Bend, Ohio, 45052.
SVwebzine@aol.com