A) As Bizarre, Theatrical, Character/Plot Driven, and/or Story Entertainers,
we by nature and tradition have needed to market our programs differently,
and to a welcoming and very targeted market.

b) With the current economy, and corporate downsizing things suck
(and not in a good vampire way) old clients have gone bankrupt,
new clients are more hesitant to book, more are price hunting.

So what’s (c)?
How are we successfully bucking the trend?

Are you looking for and finding new ways to
market yourself,
reinvent yourself,
or rebrand yourself?
Or is your market stable where you’re not making changes?

I thought more minds were better than few minds,
and this might be a good venue to brainstorm,
on what’s working and what’s not working, in a frank discussion.

I know some really great entertainers who are going great guns,
I know some fantastic entertainers who are having a slowdown.
We’ve never approached PR and Marketing strategies like traditional magicians,
so we’re going to find unique solutions to our unique genre.

Are you in?

Magically,
Walt

Yes to all your questions.
I can't speak from experience, because I'm only getting started. I recently read "Leaves from a bizarre branch" by Terry Parrett which has some very intertesting ideas on doing bizarre shows in libraries for teens. I have one in progress (on a back burner) for next summer.

I like Docc Hilford's idea of hotel room marketing in "At the Mountains of Madness," but don't have the experience (either with hotels or doing these shows) that feel comfortable with that approach yet, so my current plan is to rent a space and sell tickets, marketing to the younger alt. crowds, theatre crowd, and college students, possibly with spook show type posters (or possibly not, I haven't got that far yet).

I tried bringing up a similar topic a little while ago and Doug Higley had an awesome link to his shows page:
http://higley.grindshow.com

Thanks SeaDog...my show is on 'hold' though, because my 're-marketing, reinventing and rebranding myself' has exploded in a whole new direction I didn't expect.

Walt is quite astute in identifying the survival instinct one HAS to posess these days. I once (twice?) promised I'd never take my stuff to eBay, so the obvious path was self blocked (Thank You!!) so ingenuity and preservation techniques needed to kick in and with enough sleepless nights and a good set of bootstraps as well as the right connection showing up through providence...a bizarre new path unfolds...at least temporarily. Those familiar with the Royal Tour (see my site http://grindshow.com) might be interested to know that this idea is FAR more outrageous...insane really. Unique? yeah...you could say that. But FUN.

The exact package is confidential, at least till October but it's an application of lifelong marketing skills and being too dopey to know better that's driving the bus.

The PR and Marketing strategies are unique solutions, NEVER done before to my knowledge and frankly there's a 50/50 chance it may not completely succeed. We'll see...but the world says INOVATE or your dead...ok...besides, I have a reputation to live up to...hahaha.

Hopefully this thread will still be here in October and I can tell y'all about it...though maybe no matter where you live, you might hear about it on your own...

Event companies have budgets for high level entertainment.
If you do a kind of magic no one else can do, you ain't any competition with no one else.
I've a very specific signature effect: once performed, I'm always booked. No magician alive can match that routine and my customers are willing to see it again. That's business.

Yes, Christian!

I too have one effect I perform when introducing myself to clients
(generally over lunch)
and it nearly always seals the deal,
they "have" to book me after that.

I also agree, on being one of a kind.
There is only one Spellbinder Entertainment
who offers this "flavor" of entertainment,
and they have to go with me if they want it.

However, finding and driving potential clients to you
is the marketing piece of the puzzle that is becoming more difficult,
at least for me.

They can't talk to you if they don't know you exist
(among all the noise of other entertainers/magicians on the Internet
and in media).
Once I've got 'em --and they understand what I can do for them,
it's far easier.

Many of my bread and butter corporate clients
were in the Financial Fortune 1000 sector,
and they've reorganized or vanished overnight
(I tell people I take credit for Bear Sterns "vanishing"
almost overnight from Wall Street)
I've got to find other specific sectors with funds,
then court and woo them.

I am also hoping my book coming out, will expand the "inside track"
of working with magical organizations,
presenting my interactive workshop
"Making Your Magic ....MAGICAL"
in a wider circle and more often
(any club that needs a lecture/workshop, let's talk).

I guess I've been comfortable in my niche for a while,
and now have to seek out and get noticed by a different
or larger pool of targeted clients.

So, for me it's NOT the competition,
I'm too different and high level for that,
it's replacing the rivers and lakes that have dried up in the last few years.
The "recession" did not hit me when it hit most magicians,
but it's beginning to have some impact now.

Thus, what adjustments need to happen,
in content, public relations, and marketing (outreach)
that will make me "hotter" once again.

Great conversation so far on this thread.

Magically,
Walt

I, like many friends in the Dark Allied Arts, attempted to "ride out the storm" by using an inflated credit line to keep doing what I was doing as far as a presence at conventions, advertising, etc. All the while, I was doing too much to support others' flailing projects at the expense of my own, because I was not focusing upon things that were at least as much as if not more of a benefit to myself than the larger project as a whole. This was a mistake that I cannot take back, and I have very recently realized that I was only throwing my money into others' red zones in the process.

Over the past two months, I've realized how bad the situation actually is, particularly in relation to how nonplussed and misanthropic I've become about what I've been doing, including personal performances. Since then, I've taken several steps back and am once again back at the "trying to decide what I want to be when I grow up" stage. I don't have any answers yet, and honestly feel that I am a long way from a definitive plan of action, so I'm lying low and spending less money until things become more clear in my own head.

This is a difficlut thing to admit in a forum like this, but it has been a rough road for a lot of us over the past three years. At this point, I'm listening with open ears while I am in the process of reformulating a lot of what I've been doing.

Chris

My advise at this time is to not prejudge that area out side your box...go for it!
(and keep it 'Family')

Ive started scrounging up things closer to home and doing more events for less bucks. I like to do less for more, but this is keeping the wheels turning. As bizarrists you can do a lot of smaller venues and just keep the calendar full of enterprises. Best of success to all of you and feel free to share both the good and the bad so we can all learn!

Someone PM'ed me and asked why I posted this in the Bizarre section rather than a more open section of the Café, and did I believe that the issues were different or more unique to bizzarists. The answer was “Yes”.

I guess I do feel that bizzarists are/can be a different category, depends on the performer. That's why I posted in The Cellar, rather than Tricky Business.

The people/corporations who hire me are generally not looking for a magician or magical entertainment, so any competition would not be from other magicians (which I think was Christian's point) there are low and high priced magicians of varying quality, but they're target markets are looking for “some form of magic”.

My competition, as such, is more entertainers who have Theatre offerings, such as solo-shows, or interactive shows (such as murder-mysterys) or specialty artists such as the Cirque du Soleil' types. So, my approach is not a magic oriented pitch or marketing strategy to out sell/bid other magicians, but that of a "small business specializing in unusual events".

Yes (my market) has been hurt as well, but so have the DJ's, dance troupes, and acrobats of entertainment. The "media" for sensationalism, have become the "watchdogs" for the “everyman”. Where many companies rewarded their employees with perks like vacations or banquets, or held off site conferences to train and orient their staff, now they are terrified to spend money on anything more than a Howard Johnsons or a moose lodge meeting room. Larger Illusion acts are hurting more than I am. Because at least I can offer a stripped down, no frills, one man "commando" show. But, there are many fewer banquets and conventions to market to, because the media will jump on a story about how they are frittering away the investors or publics money (which some, for instance banks, did!). Not all, and all are paying the price.
This is not the case in Europe where that market is thriving as it is not under the same political attacks.

So, my thread is, how can "borderline quasi-magicians" who are more spread about in other genres, compete as "entertainers/theatricals" in
A-- finding new markets who are not hurting as much
B-- pitching materials to them once reached, and
C-- selling and booking shows with these new niche potential clients.

Some of this, I suspect anyway, will require some adjustment of either persona, product, image, content, or language to meet "new and current" demands and definitions of entertainment.

So how does one re-invent their image while keeping their integrity.

I don't think most "magicians" who offer more traditional magic will
re-brand, re-name, or re-think themselves
as something or someone else, nor would it occur to many of them to need to.

While perhaps a bizzarist may go from say a Seance offering, to a Tarot Reading evening, or a Medieval persona to a Egyptian persona, or a Dark and Spooky show to a Fairy Tale show (not that anyone would do these, but as examples).

And that's why my thread targets this group in particular rather than Café Magicians as a whole. children's magicians, or school/library magicians, or trade show magicians, or restaurant magicians, do need to change to survive and not just tramp along with "business as usual" but I don't think they have the same flexibility or imagination to allow them the wide parameters story/bizarrists do.

Hope I've made my point, you may or may not agree. I don't” hate” magicians, or the word magic, but in the past its that is truly limited me personally and professionally, and who I could market to, who'd hire me, and what I could demand as my fees.

So that's the world I'm in, and the place were I need to re-position myself, and I think other professionals and semi-pros need to move on and ahead too in this economic climate. I hope the tread will reflect some of this and offer sound ideas and theories on how to accomplish this.

Thanks again,
Walt

Bizarre magic can enter places where traditional magic can't: Museum exhibitions, Renaissance fairs, Occult bookshops and libraries, Fantasy conventions (litterature, cinema, games, cosplay...), "haunted places" (hotels, restaurants...), and mooooooore.
Not to forget the traditional places like theatres and trade shows.
You can also create your own private dinner/show evening about a weird theme: think about an evening about vampires where you offer not only an excellent lecture/show, but also a Dracula dinner with the recipes from the novel...
Or a ghost stories evening.
The quality of your prestation is your best card.

I'm trying to find better ways to reach the people who like the type of entertainment that I like. Many of these people are a part of conventions within fandom of varying sizes.

This has meant that I have not focused upon getting gigs in more traditional venues, and that business has fallen off significantly. Unfortunately, the niche in which I work is full of people who have also suffered from the economy, so their entertainment dollar is being stretched as well.

That being said, what I am doing is looking at ways to promote myself as the service rather than the servant. Having done two solid years as a producer, even I was amazed at the number of acts looking for work, and they find you as soon as there is a hint of an idea that you might be booking talent. Having worked the fan convention market for the better part of ten years, I am amazed at how quickly every single show finds out about you, adds you to their mailing list, and solicits you to pay to play or vend.

As all of this becomes more clear to me, the thing that I need to do is make my name jump off of that "potential vendor" list and get it over to the "essential resource" list.

This has meant that I pick and choose the events for which I pay to attend very carefully, and work toward the minimum of no overhead to attend the event with the opporutnity to make money (vendor space, sell a workshop, etc.). I'm willing to sing for my supper if given the opportunity to do so.

Chris

Walt, this isn't the ever-popular typical discussion about squid things with tentacles, stuff that isn't really either bizarre or magic, or even the latest whoziwhatsit from some of our favorite people, but this is HUGELY important. Stetson was nice enough to share his thoughts on this subject a couple of weeks ago, and I got a lot out of it, but am still working on finding the right sequence of action items.

Please keep it going. Personally, this is what I need right now. I've been trying to find a new starting point, and thoughts in this thread are helping me to get there.

Chris

My long time range of clients and geographical areas are threatening to dry up a bit, so I want to be proactive and book more gigs that do not necessitate travel and per-diem costs, and defining the industries (and they are out there) and those markets and areas MAY require met to adjust my marketing direction focus.

I have defined myself, my genre, and my business plans stringently over time, I know precisely what I’m good at and what my strengths are, and exactly what I don’t enjoy doing and what I’m weak at. This I ONLY accept bookings that match my plan (again in the book) and turn everything else to those I feel competent in those areas, and who by those referrals will not damage my reputation. So, this is where (well within those set parameters) I need to expand and shift my horizons.

I use very, very few “magic shop” effects in my shows, and if I do they are so drastically remade and refurbished they are all buy unrecognizable as the usual effects, to support my “tales” I use mostly antique, artifacts, or totally everyday objects, much as Curator Christian would.

Another very unusual thing is that my offerings are strictly limited to “parlor to banquet” size performances of say 12 to under 100 spectators, while the majority of Bizzarists are close-up, which I do not do at all anymore. Thus, my book has a very unusual focus of audience size for this genre.

I would say that a very traditional magician (and I’m speaking of the cliché norm, not a skilled pro) simply “sprints” from trick to trick (which they acknowledge are tricks and illusions) with little or no direction or unifying theme, and are separate wonders, with little emotional depth or impact, other than surprise or curiosity (I know I’m being tough here, but look at many of the Café posts).

I fit into the category of “the artist not being recognized in his own land” and so I work very, very seldom in my immediate area (it seems you do) I find that performers from LA or LasVegas are booked for Bay Area gigs, while my territories seem to be Chicago, New York, Connecticut, Florida, and sometimes Canada. The closest I generally come to “home” is Seattle. My clients range from lawyers and bankers to spiritual groups and philanthropic nonprofits.

I look forward to continuing this discussion,
Magically,
Walt

Walt,
I've been barking up this tree for at least 5 years.

The longer I keep waiting to find the solution to my marketing plan, the older I keep getting. I'm at a point where I'm just going to try my plan & see what happens. Like you, my shows are more suited for parlor & banquet size audiences.

Currently, I plan on keeping my regular day job. I'm too afraid to give up that regular pay check in these tough times. So, I'm going to send out oversized postcards to about 100 Bed & Breakfasts, libraries & some hotels. I'm going to do this every month. I also plan on sending a newsletter 3-4 times a year to anyone who responds to the postcard mailing. Not an email one, but a real one.

I'm also considering offering maybe 4 free shows to the first 4 libraries to contact me since state funding in my state got cut & libraries are having hard times.

But I do get frustrated because I want to perform & after coming home from 8 hours of work, I have to tackle this marketing end of the business.

I guess I really didn't give much input but I did whine pretty well (which was not my intention).

Marqus

Hello!

My income is magic, that's why it crucial I make up for the clients that have tanked this year. I've not only lost some income, but maybe health insurance is in some danger.

So I'm forging ahead, no fallback jobs here. My rates don't allow for library or school shows, these I do in tandem with nonprofits to support children's literacy, which has been my cause since the first Harry Potter book came out.

I do have a detailed business plan (something I find many, many performers don't bother with) but it needs a push while I'm on the run, and get adjustments to couple with new circumstances.

So, who else is in a period of adjustment, and what are your plans to re-think and re-work your target markets, offerings, and marketing approach???

Magically,
Walt

Magically,
Walt

Can we go deeper into this topic?
Examine solutions rather than challenges.
Anyone?

I'm saying this from the perspective of someone who has never had a regular job outside the entertainment business. It might work better if you'd make personal, in-person, contact and then follow up with the post cards. That way they put a face and a handshake on the cards. While you've got the money from your job you can get a lot done.

The entertainment business can be rough. What do you do in your day job??? If you believe in yourself, why not just make the committment?

You're right about it taking constant promotion.

In-person contact is part of my plan but my mailing will be sent to areas that are in a 2-3 hour drive radius. It probably wouldn't work out.

I did quit my regular job about 10 years ago but was too worrisome.

If I was single without children, I'd feel more secure & would be able to devote the necessary time & effort I would need to succeed. And I know I would!

It's the worrying of providing for my family that causes me to lose the confidence I have hidden deep inside.

Not that one can't be successful married with children. The above is strictly how I AM. That's how I'm wired.

So, bottom line is, with only about 2-thousand in savings to fall back on, I don't believe in myself enough to commit.

But I think we're way off topic here.
Please re-read Walt's original queries.

OK, I'm not sure how this is off topic but I'll just have to trust you on it.

So, Ill just add one more thing for those who might be interested in my perspective of working through lean times.

This has always worked for me. Grab a map and draw a circle 300 miles around your hometown. This is your enterprise zone. You can get anyplace in the circle with a half days drive and then back home. Ought to be plenty of places to get gigs. It just takes digging and a lot of work.

I wonder if there would be a way to combine a show for several lesser paying venues to be able to get your regular fees.