“…the process itself is more important than the plan.”

- Jeffery Timmons, New Venture Creation

One of the key objectives for our professional development program is to help artists achieve success through manageable, persistent, strategic and consistent action; without sacrificing their spirit. Basically, we want to help you learn how to design a strategic plan for your career or organization and encourage you to implement it effectively.

WHY?

Without directions the journey seems overwhelmingly long and impossibly difficult, but with directions the journey seems realistic and achievable. Research shows, the very process of designing a strategic plan for your business is highly motivating. It puts you in charge of shaping your future, evaluating your choices, and initiating fruitful actions. The plan gives you a clear path to your long-term goals that is paved with actionable short-term goals.

Additionally, a strategic plan helps you manage risks and uncertainty, work smarter not harder, test your thinking, achieve results, manage stress, and understand the costs and benefits (both monetary and non-monetary). Also, you can temper impulsive hunches with a thoroughly researched understanding of consequences, make educated decisions, and limit trial by error. It helps you say “no” to distracting opportunities that often slow or halt progress. And if you decide to say “yes” to non-strategic expenses of your time, energy, and resources; you can do so with a clear understanding of the opportunity cost…of what you are sacrificing.

“Medèn ágan”

- Ancient Greek maxim (written in Latin)

This ancient Greek saying, carved on the pediment of the temple of Apollo at Delphi in Greece, literally translates into “Nothing in excess.” I caution any artist or arts manager to take heed when engaged in the strategic planning process. A plan is NOT A RIGID DOCUMENT; it is only a point of departure that MUST ADJUST as you attend to the unknown obstacles and opportunities that will inevitably emerge on your journey.

Common pitfalls in strategic planning involve letting the plan become:

• a source of tension
• an unhealthy list of “shoulds”
• an unrealistic thing that heightens your fear of failure
• a barrier to integrating unexpected opportunities
• fuel for your competitive nature
• an excuse for quitting when things take longer than projected.

The journey from idea to high potential opportunity requires navigating an undulating, constantly changing, three-dimensional relief map while inventing the vehicle and road map along the way.

-Jeffery Timmons, New Venture Creation

Again, you must accept that the plan (as written) will likely fail, because these fast paced times make it obsolete as soon as it comes off the printer. However, you can succeed if you take the time to go through the planning process:

• understand your goals
• clarify your creative offering
• understand your industry infrastructure
• understand your audience
• assess your resources and capabilities
• use the research and analysis to thoughtfully design your path. (What is your marketing strategy, operations strategy, financial strategy, entrance/exit strategy, development plan, etc.?)

A strategic plan will get you started, be a tool to measure progress/opportunities, and act as a battle plan for mitigating risk and overcoming obstacles. Just be sure to adjust the plan as needed.

Finally, taking the time to do a strategic plan is an investment in sustaining a lifelong passion, rather than a short-term fling, with the arts.

Fractured U. will be offering online courses in strategic planning and many related subjects. However, if you need any assistance prior to the Fractured U. launch, please feel free to contact me at kamal.sinclair@fracturedatlas.org.

Recently, I’ve been conducting interviews with mid-career artists to locate some consistent practices that have worked for career advancement and business development in the arts. Interestingly, negotiation continues to surface as a critical skill and unfortunate pitfall.

“Artists have to learn business, because they are constantly negotiating…you are constantly negotiating with business people…it’s harder for artists, because we need the money… Also, don’t argue….negotiate…don’t blow an opportunity on emotion…” – Visual Artist and Arts Professor, Atlanta

As previously stated, many of the artists we surveyed and interviewed expressed feelings of being inept at (or resistant to) learning business skills like negotiation. However, negotiation is a requirement of living in a socially interdependent world that none of us can escape.
“Negotiation is an interpersonal decision making process necessary whenever we cannot achieve our objectives single-handedly.” - The Mind and Heart of the Negotiator, by Leigh Thompson

The question is not: “Do I want to negotiate?” Or “Do I have to negotiate?”
The question is: “Can you effectively negotiate?”

I, also, have been resistant to (or intimidated by) the concept of negotiation, because I associated the word with the stereotypical car sales man who tries to manipulate you into a crappy finance deal for a lemon disguised as an automobile. You can imagine my surprise when I took a negotiation class last spring and discovered that negotiation is more effective when the parties involved try to:

· find solutions that fairly meet each other’s needs,

· to create value for both parties (1+1=3),

· and to build trust.

“Effective negotiation is not just about money – it is equally about relationships and trust.” – The Mind and Heart of the Negotiator by Leigh Thompson

I was under the assumption that negotiation was about fighting over who gets the bigger slice of the last pie on earth. I never considered that it could be about finding ways to make the pie bigger or make multiple pies. Also, I assumed that all negotiating parties wanted pie. I never considered that one party might not even like pie. That they might prefer to trade their slice of pie for the chocolate cake that makes the other party break out in hives.

In fact, researchers have found that negotiating parties rarely want the exact same thing. Most negotiations involve parties with at least some asymmetrical or complementary needs.

Fictitious example:

An emerging rock band (Young Bucks) with a strong grassroots following and a well-established music venue (Giant Stage) are negotiating the terms of a booking agreement.

A week ago, Young Bucks were approached by a major label (Big Guy Records) about opening up for a major celebrity (Bon No) on an international tour. However, Young Bucks have never played a large audience. Before booking the tour, executives at Big Guy Records want to see how well Young Bucks can perform in a large venue. Other then the Giant Stage concert, the only other opportunity Young Bucks have to play a large venue is at a new venue opening up across town (The Comp). Although The Comp is offering good money, they would have to wait a few months for construction to finish and risk losing the interest of Big Guy Records. Also, Young Bucks are aware of another emerging band (Ambitious) that wants their time slot at the Giant Stage concert.

Meanwhile, Giant Stage is going through some cash flow issues due to poor investment decisions by management. Although they have a reputation for paying bands a little over industry standard; they’re too cash strapped to pay their normal rate. Also, they are concerned about competition from The Comp. Giant Stage needs to protect their reputation as the leading edge presenter of “hot” new talent and there is industry buzz that Young Bucks’ could be the next Jonas Brothers. If they don’t book Young Bucks, they might sign a year-long booking agreement with The Comp.

Entering the negotiations, neither party is aware of the other party’s interests. Giant Stage assumes the negotiations will be about the pay rate. Young Bucks assume they have to fight for their time slot. Young Bucks enters the negotiation with “guns slinging.” They talk up the offer from The Comp, in order to indicate their value so Giant Stage will give them the time slot. Giant Stage interprets this to mean that Young Bucks wants them to beat The Comp’s pay rate, which Giant Stage can’t afford to do.

Unfortunately, no deal is reached.

When negotiating parties do not communicate their needs properly, then false assumptions, information hording, and misplaced suspicion cause them to “leave money on the table.” According to my professor, experts calculate that approximately 20% of negotiations end in a lose-lose situation, where resources are left unclaimed by either party.

“Understanding your counterpart’s interests and shaping the decision so the other side agrees for its own reasons is the key to jointly creating and claiming sustainable value from a negotiation.” - Six Habits of Merely Effective Negotiators, by James K. Sebenius; Harvard Business Review

Good negotiations result in a situation where all parties:

· make trades (not compromises),

· walk away with what they need (not just an even split),

· feel good about the deal,

· and maintain a good relationship for future exchanges.

In the light of this definition of negotiation and the ethical/fair practices it requires, I was able to overcome my resistance to learning about how to become an effective negotiator.

Currently, Fractured Atlas is in the process of developing infrastructure and course content for Fractured U., an online business training center for artists and arts manager. When the full fledge program is launched, we hope you take advantage of the opportunity to learn from industry experts and sharpen your business skills. Not to become a hardened sales person, but to avoid some of the pitfalls other artists and arts managers have suffered in the past. We don’t want you to “leave opportunity on the table.”

More results from our 2008 national survey aimed at better understanding your professional development needs. So far, we have discussed the universal and career phase needs of artists. Now, I’d like to quickly touch on some of the generational needs we discovered in our research.

Generation Y (born between 1980-1994) - The older half of Gen Y artists are exiting undergrad or grad school and are eager to quickly “make it happen,” especially after loan payments come due and life expenses increase.

“I am 26…I am beyond working for free. There is no security and no real long term claim to ownership if the work of the company (I dance with) does eventually make a profit.” – Dancer, NYC

“We need information on how to set up a lifestyle that will allow us to pursue art for the long haul.” – Musician & Actor, Los Angeles

Generation X (born between 1965-1979) – Many Gen X’ers have been in the field for a while and feel like they “hit a wall.” Some are combating this stagnation by trying to “step up their game;” others are starting to think about law school; some have managed to build a good reputation and are experiencing a fair amount of success. The more established X artists need help managing the new challenges of a successful career, such as: long-term financial planning, sustaining momentum, protecting their IP rights, etc.

Many are grappling with tough decisions about starting a family or pursuing their career while providing for the children they already have. Some are being told to give up their dreams and “be responsible.” Some are saying “f%#@” convention, by choosing to stay unattached and nomadic.

“I have held off on graphic design since having kids, how do women and men plan for family and still make a living in the arts? …HUGE issue for female artists.” – Graphic Designer, Louisiana

“I stopped being an artist for four years to be a real estate agent and almost went nuts…I was told I was being selfish to want to be an artist as a parent…then I realized my kids were growing up not even knowing who their mother really was. I learned the hard way, you can’t ever stop being an artist…its just who you are. ”- Director, Georgia
Baby Boomers (born between 1946-1964) - many boomers are just returning to the arts after a long hiatus caused by life’s distractions and they want to integrate creativity back into their life. Others are just discovering latent talents and are eager to fully realize them. These artists express a need for career transition management.

“My kids are grown and I have a freedom I didn’t have before. I figured; why not move from teaching about playwrights to being a playwright. So I enrolled in a PhD program in creative writing and I am directing my first play next month.” – Playwright, Georgia

Other Boomers have enjoyed a very fruitful artistic career and worry about how to firmly establish their legacy. They want strategies for documenting their work in art or performance history books; establishing institutions that will carry on their artistic mission; or simply communicating how their work is still relevant.

As mentioned, we are working to expand the Fractured Atlas Development Program to better meet your needs by developing our online training center (Fractured U.). Also, we are developing a network of highly qualified consultant and coaches who can provide customized assistance to artists trying to plan, launch and manage their careers/companies. For more information contact me (kamal.sinclair@fracturedatlas.org) or Adam Natale (adam.natale@fracturedatlas.org)

As mentioned, we conducted a national survey and a series of phone interviews to better understand the professional development needs of artists. In the last post, I outlined the most common needs expressed by your peers. In this post, I thought you might be interested in understanding how your needs varied by career phase.

Emerging Artists feel like they know how to make art, but are ignorant about the operations and infrastructure of their own industry. They don’t know what it really takes to be a working artist. Most reported being told by a teacher or mentor to “just persevere at all costs” in order to achieve their creative dreams, but were not given more practical insight into the day-to-day reality of their career.

They feel the lack of information is very disempowering and causes a perceived loss of control. Therefore, emerging artists especially want an education in industry structure, functions, vocabulary, and norms; which can be a source of empowerment and create a sense of career control.

“What is the vocabulary? What is the process? Who has the power? Where do I get started? Where should I live? (NYC or Los Angeles?) How do I get an agent, or join the union? How can I avoid being scammed? How do I get an exhibit?” – collage of emerging artist comments

“I would love some sort of a boot camp in business concepts for artists. Also, we need a way to mediate the connection to capital. Artists are uncomfortable asking people for money, they need an advocate. A workshop on pitching and presenting materials would be great. We have to learn about fundraising or getting investors for our vision. I wish I had templates or someone to spoon feed me the steps on how to save money. Individual sessions would be great! It’s hard to accept that you have to be involved in the selling process, but it would help to have a partner. It would be great to have general business knowledge tailored for filmmakers…that would be great!” - Filmmaker, Los Angeles

“I have questions about how to sell music and make money, because CDs aren’t selling, technology is changing, new ways are emerging to support yourself….I hate having to push my CD…it is such an artist conflict, you want to sell your stuff, but you want to remain humble.” –Musician, Florida

Established Artists need help getting “unstuck”, overcoming worries about peaking, taking control of their careers, taking actions toward getting the next gig, managing their “brand”, getting emotional support when their social network changes, and overcoming the negative aspects of the industry.

“My career is being pulled by the market in one direction, but I have to push it in the direction of my creative (non-monetary) goals. If I was smart, I would just do what the market demands and make even more money, but I just don’t want to make stuff for money’s sake. If I did, I could be making a whole lot more money right now.” – Photographer, San Francisco

Again, we are working to expand the Fractured Atlas Development Program to better meet your needs by developing our online training center (Fractured U.) and developing a network of highly qualified consultant and coaches who can provide customized assistance to artists trying to plan, launch and manage their careers and companies. For more information contact me (kamal.sinclair@fracturedatlas.org) or Adam Natale (adam.natale@fracturedatlas.org)

Fractured U., Fractured Atlas’s online arts management curriculum, is seeking instructors to develop 25 new courses. We’ve released an RFP which has all the details, including guidelines, deadline, etc. In a nutshell:

• We’re looking for 5 introductory courses and 20 advanced courses
• Courses may cover any topic in arts management and may target individual artists or arts administrators
• Selected instructors will receive initial compensation of $500-1,000, plus 75% of all enrollment fees generated for the course. (Thank you to the Pierre and Marie-Gaetana Matisse Foundation for making this possible!)
• Proposals requiring new features to be developed for the online class software are welcome
• Submissions are due September 1, 2008

Read the full RFP for more details.

Hey there Fractured Atlas members! As you probably already know, we’ve been talking about a few surveys recently. Well, we’re still keeping them open since we really want to hear from you!

And, if you take one of the surveys, you get a free month of membership! Take both, get two months free!

Please note, you must be a current Fractured Atlas member to take these surveys and to be eligible for the free month(s)*.

The first survey is something that’s been on our minds recently — artist education. With the launch of our series of online courses, Fractured U., we’ve put together a short survey on the subject of career preparation and management training for artists. It’ll only take about 5-10 minutes to fill out and will provide loads of valuable information to help us shape these new services….

Click here to take the Career Preparation & Management Survey.

And, our 2008 Annual Survey is still open as well! Help us determine what services you need, what programs you’d like to see established, and how we can better help you as a support organization. This survey should only take 5-7 minutes to fill out….

Click here to take the 2008 Fractured Atlas Annual Survey.

Your opinions count!!

* Free months of membership only apply to paying members of Fractured Atlas. Associate Members are not eligible for free months, but we still hope you’ll consider taking the surveys!