Learn the Secrets of Print Interviewing

Written by Susan Harrow

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Learnrepparttar 105708 Secrets of Print Interviewing

1. Remember you're always onrepparttar 105709 record.

Even whenrepparttar 105710 tape is off, even whenrepparttar 105711 reporter has put away his pad, even when you think thatrepparttar 105712 reporter thinks you walk on water, you are onrepparttar 105713 record.

One of my clients who knows better, gave an interview to a columnist at a prominent national paper. She thought they had a jolly rapport and became a bit loose lipped aboutrepparttar 105714 fortunerepparttar 105715 business had amassed in a hard-won deal. The interviewer positioned her as a spoiled and arrogant twit who had, to a certain degree, lucked out. She called me fuming, and atrepparttar 105716 same time knowing it was her fault.

The reporter is not your therapist so this is notrepparttar 105717 time to discuss your innermost workings. I remember a friend of mine saying that there was nothing so mesmerizing as having a therapist listen to her in total attention. It's seductive to know that a person finds you fascinating. While you're not paying a reporter, their job similar to a therapist's, is to be a skilled listener. The reporter is there to do one thing-get a good story. If you don't want to see it in print, don't let those precious words leave your lips. Period.

2. Don't beg.

Your lips are made for talking. While it's imperative to be attentive don't bow, scrape or otherwise raise your lips torepparttar 105718 posterior ofrepparttar 105719 reporter. You are there because you have valuable information to impart. Much as some reporters pretend they don't need you, you're a critical part of their job. Focus on their questions and your message and you'll make a good interview.

3. Ask to verify your quotes.

Author Bill Barich describes his first media encounter for his first book *Laughing inrepparttar 105720 Hills.* So I flew off to New York in February with a borrowed suitcase, feeling for allrepparttar 105721 world like John Boy Walton,repparttar 105722 would-be-writer of television fame. The magazine (The New Yorker) put me up atrepparttar 105723 Algonquin Hotel, directly across from its headquarters, and soon I was seated inrepparttar 105724 regal lobby bar and conducting an interview with a journalist from (of all places) Women's Wear Daily, who'd been dispatched by The Viking Press for some advance publicity.

Five Steps to Protecting Your Music and Your Money

Written by Jeromie Frost

There are a lot of independent labels out there waiting to use a talented musician to make quick money. The offers may seem hard to refuse, especially if you are a struggling artist or band that has struggled to get a record deal. A little money and exposure may seem great forrepparttar moment, but you run a high risk of getting contractually bound to that record label forrepparttar 105707 rest of your life. If a better deal comes along later, you may not be able to accept it, or you may get robbed of your rightful percentages. All of this I learnedrepparttar 105708 hard way. I was very fortunate to be able to get myself out of trouble and get a fresh start inrepparttar 105709 music business. I also took time to educate myself through books andrepparttar 105710 experiences of others, as well as my own, to conceive a plan on how to avoid a repeat of what happened once before. This plan I believe will be very helpful for you ambitious artists pursuing your dreams. It is put into five easy steps, but make sure to readrepparttar 105711 details listed within each step.

1. Copyright your music

This is one ofrepparttar 105712 most important things you can do to protect your music. Takerepparttar 105713 time, fill outrepparttar 105714 forms. There have been many instances where a person wrote a song and nothing ever came of it. Years later a signed band steals their song and remakes it. The original artist had it copywritten and suesrepparttar 105715 other record label for thousands if not millions of dollars. Instant riches! Protect your tunes.

2. Understand what you really want from your music

Figure out whether you are looking to sell your songs to record companies, or berepparttar 105716 band and artist who performsrepparttar 105717 songs. There is good money in just writing songs for other bands. Ask for a percentage if that is your decision, because that will generally make you much more money inrepparttar 105718 long run than an up front payment. The only thing you sacrifice by writing instead of performing isrepparttar 105719 fame and exposure. Also, determine how much you stand behind your music. Are you willing to allowrepparttar 105720 record company to make several changes to your songs and try to mold you into “their sound”? How much do you believe in your product?

3. Get a contract lawyer and agent

You need an agent to represent your band torepparttar 105721 record labels. This person doesn’t need to be an established agent inrepparttar 105722 business. It can be a friend or relative if they can talk assertively and won’t make any quick decisions without consultingrepparttar 105723 band. The record companies only want to talk to one person, not three, four, or five members of a band. It gets too confusing for them and they don’t haverepparttar 105724 time. Make sure they are looking out for your best interests and not theirs. A contract lawyer is especially important. Just call around and find a local lawyer who specializes in contracts. When it comes time to signrepparttar 105725 dotted line, make surerepparttar 105726 lawyer is by your side. Don’t sign any contracts or documents until you and your lawyer have taken time to read them thoroughly and make a decision. If a record company is rushing you to sign any papers, walk away. Patience should be allowed to you if they are truly interested. If they rush you, they are planning to manipulate you.

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