Filling Those Seats!

For the last few weeks, I’ve been preparing for a debut reading of my new memoir-in progress, Lady Buddha and the Temple of Ma on November 11, 2009. It’s part of a Multicultural Symposium titled “Mixed: The Politics of Hybrid Identities at Lewis and Clark College here in Portland. I visited the venue for the reading yesterday and was overwhelmed to see so many seats to fill!

A great part the success of my work in radio and theater has involved knowing how to promote. For theatre it used to entail sending out lots of postcards and posting flyers of the production and calling newspapers and radio stations in hopes of getting mentioned or interviewed. In my national radio documentary work, it used to involve sending out postcards and cassettes and more recently CDs to station managers and program managers with hopes of getting airplay. We still send out CDs but also offer stations the option to download the audio directly for broadcast.

Now there are so many options to getting the word out that doesn’t involve spending a great deal of money especially if you don’t have much of a budget. For this reading event, I asked a graphic designer to make a postcard but also come up with a graphic I could send out online. Then I sent out evites and set up an event page on Facebook. I’ve been following this up with emails to my email list. I got a free trial at Constant Contact to see how I like it. There is a bit of a learning curve but I’m finding it to be good way to send out your email list.

Though I send out a few postcards, I generally opt to have a lot of postcards or small flyers I can take with me throughout the day or to events. That way if I see a friend or meet someone new, I can hand them the info about the event or radio show.

I also have been having good response to tweet messages about events and radio programs particularly my weekly live arts show, Stage and Studio, on KBOO 90.7 FM. I performed a short reading from a different part of my memoir-in-progress on my radio show and let people know about the upcoming public event.

I’m really excited about debuting this new work and the Templeton Council Chamber is a warm inviting space so I’m looking forward to reading and performing my work! I haven’t spent a ton of time publicizing this but hopefully I’ve reached a lot of friendly faces who will be in the audience. Together with the colleges promotion, we’ll fill a lot of those seats!

Anyone else have success with low to no-cost promotional ideas for your artistic work? Please share them if you do!

And if you’re in Portland come see my reading/performance November 11th at 7-8pm. I’d love to see you!

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6 Tips on Conference Mapping

Here’s part three of my Summer of Conferences posts.  In Part 1 I talk about Fishtrap. Part 2 was about Willamette Writers and the Hawaii Writers conferences.

View from Hawaii Writers Conference

After attending both public radio and writers conferences for a number of years, I find a positive experience really depends on your attitude and the preparation you do ahead of time. I’ve gone to conferences generally to network, promote my latest projects and learn something new. Here are some tips I can offer if you’re thinking about investing time and money to go to a conference:

1. Open your mind and let go of expectations. Don’t assume everyone is dying to hear about your project or book. Think about meeting people and learning about them as people, not rungs on a ladder to success. Do your best to promote yourself and your passion but set the bar low on expectations. You’ll leave yourself open to getting more out of the conference.

2. Study the schedule and presenter bios and photos BEFORE the conference.  A good many interractions happen in the hallways, events and after a workshop or session. Be very choosy about which session you’ll attend. Try to learn as much as you can while you’re at the conference.

3. Be prepared to meet anyone, not just people you THINK may be helpful to your career. I don’t know how many times people have been rude or have ignored me when I meet them at lunch and then later I’ve presented at a panel and they’re friendly after they find out who I REALLY am. That’s just plain silly. Don’t be a conference snob. Be nice to everyone!  The worst case scenario: you’ll make friends!

4. Prepare a postcard or small flyer ahead of time with your project or book idea. Have the title, your name/contact info and a short book/project blurb in 25 words or less. Include a great photo to draw attention to the idea. It’s simple and something you can do and print out in color at home. You don’t need a lot of copies. Just enough to hand out when you meet people.

5. Practice your pitch at home in 25 words or less. Write up your blurb and then paraphrase it. Say it in front of the mirror or with a friend. It can’t sound memorized. Just conversational. I even added a bit of Hollywood to my pitch about my memoir: It’s “Joy Luck Club” meets “Terms of Endearment.” And an editor at a prominent publishing house loved it!

6. Have fun! People love hanging out with people who are having fun. Don’t you? Guaranteed, if you’re having a good time, people will want to meet you. That’s just human nature.

Check out the flyer for my memoir that  I took with me to the last writers conferences. And send me your tips for getting the most out of conferences!

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My Summer of Conferences, Part 1

Flyer for my memoir

For the last year and a half, I’ve been working on my multicultural memoir based on my personal radio pieces, Mei Mei, A Daughter’s Song, The Journey of Lady Buddha and Secret Asian Woman. The working title is now Lady Buddha and the Temple of Ma and the memoir focuses on the last three years of my mom’s life as I took care of her during her second battle with breast cancer. I flash back on our turbulent cross-cultural relationship and how her tragic childhood impacted my upbringing.

I decided to take this year off from fulltime radio work in order to focus on my writing. It’s been an amazing process of relearning to write after 25 years as a radio journalist and as a playwright. In both radio and theatre, “less is more.” In writing a book, “more is best” especially more visual and emotional description.

In order to help support my work, I applied for and received a small grant from the Regional Arts and Culture Council. As part of this work, I’ve been attending some writers conferences this year: Fishtrap, a writers gathering, the Willamette Writers Conference and the Hawaii Writers Conference from which I just returned. I’ll be writing about these conferences in the next couple posts and giving some insight on the value of conferences for writers. I’ve also solicited some thoughts from other writers who will be posting soon.

Dmae interviewing Rich Wanshieder, co-founder of Fishtrap

To start off this series of posts, I encourage people to listen to two radio programs I produced recently about the Fishtrap Writers program near Joseph, Oregon, in the beautiful Wallowas Lake and Retreat Center. I interviewed the founders and participants in Part One including the legendary Kim Stafford.

In part two, I talked acclaimed writers Elise Paschen (who started the Poetry in Motion program) and Memoirist Debra Gwartney. They all give insight into the writing process but also about how they support their work spiritually and how they motivate themselves.

Debra Gwartney & Elise Pachen

Let me know what you think and share your experiences with writers conferences. I’ll be posting my thoughts on Willamette Writers and the Hawaii Writers conferences soon.

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The DIY Girl

Julie Sabatier (Photo: Cameron Browne)

There’s nothing more DIY than funding your own bliss and independent radio producers really know how to do practically everything themselves.

One of the talented and inventive radio producers I’ve worked with is Julie Sabatier. She produces an amazing show , Destination DIY,  about revolutionary do-it-yourself projects and really explores the topic in unusual ways. Her most recent show describes various way people represent themselves. I found the “avatar” section really fasincating especially in light of all the social networking sites now. You can hear it online as well as other fascinating shows. Sabatier has built up a following through podcasting her show as well as distributing it regionally. 

Sabatier recently wrote in response to the “Brain-picking” posts and described an inventive way she deals with numerous requests:

“Though I still consider myself a bit of a “newbie” I have started to get some requests for mentorship. I struggled with it in a very similar way that you did, Dmae. Sometimes it turned out great and lead to opportunities for all parties, but many times emails went unanswered and good, solid advice unappreciated. This is one reason I put together a lot of my answers to frequently asked questions in zine form. I have no problem asking for a couple bucks in return for this little collection of information. And it’s great to be able to hand off something already finished to people who just want to know the basics.”

I thought this was a fabulous idea to give a primer to people as well as make $2 each time. Check out her “How to Make Radio” zine as well as her online archives of shows. We’ll be hearing a lot more from Julie Sabatier and Destination DIY in years to come!

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The Karma of Giving

"Lady Buddha" By Dmae Roberts Photo: Lars Wanberg

I’m going to rant a little. Haven’t yet so here goes…

A theatre director once told me she went to a professional theatre’s “Pay What You Will” night and proudly plunked down two bucks right in front of the artistic director. She thought  she was making a stand for artists everywhere because she didn’t believe theatre people should ever have to pay to see theatre. Her logic was artists do enough nonprofit work so why should they spend money?

A year later, she ran a struggling nonprofit and was bemoaning how hard it was to make money on ticket sales.

My internal reply was “karma, much?”

The notion that we as creatives shouldn’t have to pay for other creative’s work because we’re 1) starving artists 2) we do so much for the art or medium already and 3) Other people should pay will be the downfall of us all.

Yes, creatives have been hard hit by the economy. Everyone has. Yet these same creatives might be seen buying a latte every day, a happy hour every weekend and a movie every Friday. That same money could go to buying a nonprofit theatre ticket, purchasing a colleague’s radio documentary or a local author’s book. When those creatives see you’re supporting their work, they might be so inclined to give back to you next time you produce a project or “pay it forward” to another creative. 

For the last 13 years, I’ve been voluntarily producing “Stage and Studio” on KBOO community radio the only radio show in Portland, OR  dedicated to the performing and media arts. I have no funding and volunteer about 10 hours of volunteer weekly. Each show I interview local non-profit theatres, dance companies, music groups, independent filmmakers or writers. Yet when it comes down to membership drive time, few if any of the people I’ve interviewed through the years, become a member to the station even when the basic membership level is $40.

Of course, we can’t give to all our colleagues but select one or two every few months to help support in some small way. Sadly there is a lack of committment to giving within our own community of creatives. Yes, these are tough times, but if we don’t give, why should others?

 

Making a Transition – 7 steps!

Several people have told me they want to quit their current jobs and wish they could freelance but are understandably anxious about it.

The only regular job I’ve had in radio was in early 90s when I worked at Oregon Public Broadcasting as the local host of NPR’s All Things Considered. It was a fun half-time job announcing news, weather, and traffic, giving me a half-time salary and health benefits. But it wasn’t my passion.

Though I’d been freelancing for several years before, letting go of  benefits and monthly pay checks made me dreadfully insecure. So I applied for funding from the Corporation for Public Broadcasting to produce my first big radio series. I received $75,000 and quit my job. And I haven’t looked back since.

If you’re thinking of making the transition to a freelance, independent life, here are 7 steps to I recommend.

1) Save money now. Save at least six months worth to live on, a year is better. This will give you a cushion as you forge ahead in your new life.

2) Test the waters…Check out the market and start applying for funding now. Or start submitting articles, radio pieces, artwork, screenplays, while you’re still employed. Learn what you can from these experiences. And if you actually sell something or get a gig, all the better! 

3) Set up a dedicated office in your house. When you start selling work, you can deduct a portion of your home if it’s a dedicated office or studio for your business. That goes for utilities, phone and web service too, as well as supplies and equipment like paper, pens, toner cartridges, computers… Check the IRS site for more details.

4) Investigate insurance coverage options. It’s best to check out what insurance is available to independent artistis. Check out the Freelancers Union for more info. Also check out getting your current insurance extended through COBRA. You can pay your own monthly payment for 18 months. A certain amount of that is deductible.

5) Think of your freelancing as a business. Yes, a small home business. Even if you have a non-profit mission in your work as I have had especially working in public radio and theatre, the IRS looks at any money you make as an independent contractor as business income…which leads to #6…

6) Get a good accountant. There are a great many deductions you can take in your freelance business. And a good accountant knows all about those.

7) Do not let your current employer know you’re making this transition until you’re confident and ready.  But definitely give a good amount of notice. Don’t burn any bridges and keep good relations if you can. When the time comes to quit, let them know it’s nothing personal…you’re just trying to fund your bliss!

 

3 Rules in the Fine Art of Brain-picking

Established Working Artists…

(c) Creative Commons

How many times have you been in this situation?

Someone, generally younger or recently moved to town or someone who just heard your name but doesn’t really know much about you, calls or emails out of the blue and asks this:

“Hi, I’m new in town and want to do what you do and someone said you were good at this and I should call you? Let’s meet for coffee, tea or lunch? I’d like to pick your brain!”

Established artists, performers, writers, media producers will generall breathe a collective sigh… and then ask the question, what’s in it for me?

Yes, we’d like to help the world and new generations to continue the propagation of our artforms and professions but when you’re a freelancing independent or someone running a small nonprofit, there are only so many hours in the day.

So here are three guideposts to help in fine art of Brainpicking.

1) Research the person who you’d like to get valuable info from.

2) Offer them something in return… Offer to BUY them coffee, tea, drinks or lunch. Make sure it’s clear it’s your treat. Or better yet, offer to intern or do some volunteer work for them—and mean it!

3) Be very respectful of their time and set a limit. Try to ask something like: “Do you have time for a 10-minute phone chat? Or may I email you a couple questions that you could answer at your convenience or do you have time to meet for half an hour for a drink or quick lunch?” Don’t assume they have a ton of time. And definitely be brief about who you are and what you want. No angst-driven long emails about what you want to do with your life and what makes you special, please.

Now none of these suggestions may work. It really depends on the person and what work or life deadines someone might have. Never get angry that doesn’t have the time. They’re most likely working hard to fund their bliss too.

That’s not to say I haven’t made some really good friends from folks who have sought me out because they knew and respected my work and offered to buy me latte or cocktail. But when you get several emails a week from folks, you learn to be quite choosy when responding to these requests.

Ultimately, the best way to pick someone’s brain is to find out if they do consulting work or if you can get funding to consult with them on a professional level. If that’s not an option then try these three rules and always respect their time…and be nice out there!

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Money Gig vs. Art Gig

 Many artists make a distrinction about what they do “to make a living” versus “creating art.”

Photo: Richard Jensen

Here’s a clip from an NPR story about Playwright and TV Scriptwriter Theresa Rebeck who feels like she’s “Living Off My Own Grant”:

Rebeck is no starving artist anymore, though. Her plays have been performed at prestigious nonprofit theaters in New York and around the country. She and her family live in a beautifully renovated brownstone in Park Slope, Brooklyn. And Rebeck has a personal assistant to help her deal with all the projects she’s constantly juggling. That’s because the TV jobs still help subsidize Rebeck’s theater work.

Theresa Rebeck (Photo: Monique Carboni)

“It was like I sort of created my own trust fund, or my own grant, and that’s what we’re kind of living off now!” she laughs. “Generally, what I try to do is always have a money gig and an art gig,” she says. “And then, whatever moves in front of the other, when a deadline comes up, that part of my brain is what moves to the fore.”

Hear the complete story or read the transcript.

Theresa Rebeck may consider TV scriptwriting a “money gig” but that doesn’t mean she doesn’t take pride in her work or that she doesn’t labor over the quality of her scripts.

I used to think of radio as a way to pay for my acting career because stage work never paid much. And within radio, I would think of the radio features for NPR as a way to match grants for my documentaries.  But that didn’t mean I didn’t care about the artistic quality of my radio work. 

In the 90s, I produced a couple of corporate installations for local hospitals in Portland complete with text and sound. I love that I can go to the hospital lobby and still see my work and hear my audio pieces there. The fact it was corporate didn’t diminish its value for me. 

I believe artists care about what  they create whether it’s a money gig or an art gig. But when you’re creating a career and self-employed, you meld all the gigs that pay or don’t pay into one career—one that hopefully blends beautifully where the sum of the parts creates one living breathing flower that makes up your career.

 

Reader Responds to 10 tips on Grantseeking

Richard Ziglar

Last January I was getting frustrated at the idea of continually pitching ideas to “commercial” distributors and decided to try the nonprofit route. I applied for my first nonprofit grant this past winter and actually got it. The grant covers exactly half the budget of an hour long documentary so now this looks very doable. I feel very lucky to be this fortunate during an economic downturn.

Reading over your posts, it looks like I had inadvertently hit all of your 10 tips on how to write a great grant proposal. Those are all great pieces of advice, especially the one about talking to the grant director before writing the grant. I found the grant director I spoke with to be very very helpful. These folks want you to succeed, because for them a successful proposal is one that squarely fits their own goals and needs. They want to help you help them.

Also, my funder included tons of information on its website on how to write a great proposal including what a good budget template should look like and what kind of reimbursements they allow for certain cost categories.

It is really important to read everything one can on the grant requirements before writing the grant. Also, researching what other grants they have awarded can be enlightening. People should look at the funder’s annual reports from previous years. Often one will find references to other projects they have funded. There’s a lot to learn from listening to previously funded projects.

One should ask oneself, is your potential funder granting money to projects that are similar to yours? If they are consistently funding projects that are WILDLY different from what you do then maybe they are not the best source of funding.

I have an MBA in finance (from a previous career) and actually find the idea of writing project-based business plans a little fun. And that is what a grant request is really, a little project-based business plan.

Although this was my first real non-profit grant request, it is not like it is the first time I asked the universe to support my work. This was about the 4th time in the past 18 months I tried to find some serious funding for a project. There you go—your one in four rule!

 

Funding Projects Around the World

Stephanie Guyer-Stevens

Since 2003, Stephanie Guyer-Stevens has been the executive producer of Outer Voices, a radio documentary series about women leaders in Southeast Asia and the Pacific Islands. She just wrapped up her fifth documentary called “The Price of Rice”—a profile of Vietnamese environmental leader, Tranh Thi Lanh. Stephanie talks about how she’s been able to fund her international projects.

I started Outer Voices as a response to my previous work in social change “organizing” with a good familiarity of the non-profit world, including experience in grantwriting and fundraising. I was really comfortable talking about the meaning of the work I was setting out to accomplish on a social level – not just about making radio. This made it possible for some funders to relate to the core values of the work we were doing. Not a traditional way of getting funding for media, but I think there is more legitimacy for producers who are honest about their social change motivations in creating work. By being honest about our intentions, our mistakes, our learning process, and our results, we gained respect from funders, and we all learned a great deal both about the work and about the subjects we covered.

We were fortunate to receive Ford Foundation funding—not enough to fund the whole shebang, but it was invaluable in giving us a great deal of credibility, so over the years we were able to build on that.

Outer Voices was really focused on creating an interface between the women we were profiling and the audience for the documentaries. The funders who have been our ardent supporters are foundations and individuals who have a vested interest in having these stories heard and the topics we were covering, rather than having a specific interest in funding media.

It was definitely harder to convince American funders about the necessity of telling stories from other parts of the world and about the relevance of international voices for an American audience. I figured a small group like ours could do more for people who were receiving no media coverage at all. That assumption has proven to be true, but the funding for these regions is also harder to come by.

There are definitely some ardent funders of international work, and they are always grateful to help create media about places and people that they care deeply about. Our production costs overseas were much lower, because we were working in a part of the world where life is much less expensive. 

I think the real obvious lesson I learned in doing this work is that we have far too little competition. There is so very little independent media being done overseas–funding is only one small part of the equation. I’d encourage anyone, if this is the shape of your bliss, to go for the golden ring.