If you have an (a) act or a band, (b) are aviailbel for booking, but (c) don't have represenation you're (d) going to have to (e) market and self promote yourself.

In a nutshell, you must let those people who can hire you directly or get you a gigs know that you exist. It doesn't matter wether you only play local clubs or seek the national limelight, your career in the entertainmant industry begins when you decie to make the next step and put your best foot forward.

What you are about to read will show you how to construct the single most important marketing tool you will need to attract attention and generate interest in your act or band -- the press kit.

Quite simply , without a press kit consider yourself dead in the water. it makes no difference where you live or how much "on stage" time you've amassed, in order to get work you need to package yourself like any other product or service on the market. Just like a bar of soap.

This might sound cold. However, your success dependse upon an effictive marriage between art and business. A press kit helps to bridge the gap. We'll examine what you need to put into one.

Don't panic! It's not as tough as it seems. Although, it will take a little time, energy and forethought.

For all intents and purposes, your press kit functions to both show and tell the agent, manager or promoter (1) who you are and (2) what you do.

No press kit can get you the job, but it can get you an audition or interview. It lets the prospective buyer of your act or band know in no uncertian terms that you are serious about your career in the entertainment industry and ready to do business with them.

So, to the prepared goes the spoils. Lets get to it.

Your Press Kit:

Generally, you put thoose marketing and promotional materials into your press kit you feel will help the person reading it make a conscious business decision about hiring you. It's your way of shining in many places at the same time because you can distribute them through the mail, gigs or a trade show.

As a practice, you'll want to include the following:

1. An up to date bio.

2. A business card.

3. Top notch photography.

4. Public relations material.

5. A flyer, A poster, a sticker or J-card.

6. Newspaper story clippings.

7. A quotees sheet-Testimonials.

8. A tape and or /CD and /or video.

9. A technical/special services writer.

10. A price sheet.

 The object is to have enough material to create an overall posistive impression. Refrain from constructing The War and Peace Press Kit. Also known as, the press kit so thick no one will bother with it.

What ever material that you do end up using will go into a two-pocketed presination folder with your name and logo screened on the front in some manner. Glossy folders look better and make a better professional image than a matte ones, but will cost you threee to five times more. Whats the difference? Showing up for a job interview dress in blue jeans verses a suit and tie.

1. An Up- To- Date- Bio:

A bio is the resume of the entertainment business. You can either write this yourself or hire a professional writer to do it for you. Rember spend the money up-front  to get good material from the get-go.

If you have any doubt about your ability to pen a bio -- hire the pro.

Your bio details the histoy of your act, what you've done, who you've done it with. Unlike block resumes, a bio is written in a livelym prose-style and designed to accentuate or "hype" you in such a  manner as to entice the reader to give you a call.

List any recordings you have made, along with your drawing power. Spinkle in a few quotes from the industry professional if you desire. (If you have a long list of accomplishment you might want you bio accomplishments with a vitta of fact sheet done in traditional resumes style).

Sum up your image preformence style, hammer home the type of audience that you play to. Include a pargraph, addressing why you should be hired.

 2. A Business Card:

Think of a a business card as a mini-billboard. If you have a logo use it.

Asn effictive business card has three vital pieces of infomations: (1) Your name, (2) Type of act or music you play, (3) A Phone number.

Keep the layout simple and refrain from adding item which distract from telling the who you are, what you do , and how you can be reached.

A white card with black lettering will serve the purpose. However. if you can afford to go color -- do it.

3. Top Notch Photography:

Nothing will turn an agent, promoter, or club manager off quicker than a por photos. As a rule of thumb ; snapshots won't work! End of discussion.

If you can only afford to put in one photo, make it black and white glossy studio shot done by a professional photographer with entertainment industry- expierience. You can not cut corners with your photography.

The resulting photo must look like you and capture the image you want to project professionally. This photo will be used to accompany newspaper stories, in sales brochuress, and perhaps displayed in a venue's lobby on a poster.

 Any photo showing you interacting with the audience or with nationally know headliner is well worth considering including in your kit. Preformence shots work, but only as long as have super resolution and convey action.

Make sure you know who own the photo-- you or the photographer. You will need to get a release or premission to print a photographer's work. You won't if you own it.

 Here comes that rule of thumb again -- If the photogarpher is not an employee of yours, the photographer owns the photo. Even if you bought the film. In any case, always give your photographer credit for his or her work. Insist upon others who use this or any of your photo to include the photographer,s name in the credit line along side the photo.

4. Public Relations Material:

Like your bio, include comprehensive literature about yourself, your act, merchandise you might be selling, or your fan club organization.

This can be anything from a press release announving a new single or album release,  radio advertising copy, a copy of a interview questions, a brouchure, or a fan club newsletter.

If you have a professionally produced PSA (Public Servie Announcement) - put this in too.

5. A Flyer, A Poster, a Slick, or A J-Card:

Any help you can give a booker, a promoter or a presenter will be a plus in your favor.

 An * 1/2" by 11" flyer or poster will not only tell the promoter how you want to be promoted or have been promoted in the past, but give them something visual to work with.

If you elect to use either a flyer or poster be sure to leave a blank strip at the bootom. This way the venue cantake it to the printer and have their name, your concert date, time. ticket price, and box office phone number over - printed on it.

A slick or a j-card lets the agent, promoter, or a presenter know that you have some type of a track record in the studio.

6. Newspaper Clippings:

Any story overview (preferably favorable) will help to show you're making enough noise to receives media attention.

These can be photocopied as is or you can create a montage of several stories on one page. Be sure to show the publication where the clip came from and the date.

You have to start somewhere. Even if you only have one clip -- include it. 

7. Quote Sheet / Testimonials:

As you play gigs, ask audience members and manangement to write a sentence of two about what they liked about you, your band, or act.

You know you have what it takes but it never hurts let an agent, a promoter or a record label hear it from someone else.

Type up a page or two of testimonials on your stationary include the name of the person you're quoting, their title, and phone number where they can be reached for further comments.

If you have a single or album that has charted anywhere in the world, include a copy of the charting.

8. Tape, and/or CD and/or Video:

Never underestimate the power of a good demonstration.

Any time you have a chance to let someone outside of your team hear or see your work, take it.

However, refrain from packaging a VHS tape unless you feel it's absolutely necessary for the person at the other ent to see you.

Some criteria for deciding whether or not to include a video:

A: Do you do somethin unusual?

B: Do you wear unique costuming that must be seen in prefoemence?

C: Is you act over 50% visally oriented?

If you answered one or more of the aboved mentioned questions "yes" then throw a video tape.

9. A Technical / Special Service Binder:

Presenters and the promoters don't need any additional surprises in their lives. If you aren't self contained, then draft up a list of your sound and lighting needs.

Special Note:

If you are self contained, but are told you don't have to bring your gear -- bring it any way. Even if it sits on the bus. If something goes wrong with the house sound system, your'e prepared.

 You don't have to be a lighting genius in order to let the venue know the  types of color wash you'd like on your stage or wheter or not you need follow spots. Use a simple diagram to show your set up and make notes in the margin.

You'll also need to let bookers know if you have any special transpotantion and /or health  and/or lodging requirements. Keep these request normal and reasonable such as a ride in from the airport or a supply of spring water and a deli platter or a discopunt motel rooom.

In short, if you want M&M's don't demand that the yellow ones be picked out.

10. A Price Sheet:

Spell out in no certian term what you will do, how long you'll do it, and how much you charge. "When you get an agent he or she will negotiate this for you, but you are doing this yourself right now.

Don't know? Call around. Pretend to be someone looking to book an act band just like yours. See what they charge and set your rates accordingly. Now, this doesn't mean be totally inflexable.

if you haven't worked in a while you might need to deviate from your usyal terms. Or you might want to break into the market you've been trying to break so you give a little,

By letting a promoter or presenter know your terms, they will have a bettersense of how to do business with you.

By putting a value on your service you demonstrate you're ready to do serious business with any one.

Reprinter from Country Music Dispatch April/May 1997

By Michael Burrow