Spring is the season for blossoming and blooming and for planting the fall harvest. But it’s also the perfect time to think about setting some seriously creative ideas into motion for harvesting a bountiful profit with your singing and songwriting.

Spring and summer are a time for weddings, family reunions, corporate retreats; business meetings, as well as community gatherings. Music can play a vital part in making these events memorable, unique, special, fun, and moving.

Set some time aside to put together a list of local businesses, community centers, schools, places of worship, associations, organizations, along with businesses and services that currently cater to special occasions, meetings, retreats, and events in your area.

A Business Plan

Then, put together a personal business plan for presenting yourself as a special events singer or singer-songwriter. Seriously evaluate what resources would be needed to fully operate on your own as you serve at a variety of venues, situations, and gatherings.

Consider technical challenges, travel issues, insurance concerns, safety concerns - don’t hold back. Anything that you feel plays a factor in determining your potential success must be noted so that you can weigh the risks against the potential return on your investment.

Sailing Local Business Partnerships

Also consider the local businesses that provide space for special events or that supply needs for special events as potential partners to approach with your services. For example, flower shops, gift shops, and party suppliers, could seriously benefit from the added value of music.

Flower shops appeal to the emotional needs of people dealing with grief through funerals and sickness. They also handle flustered appeals from people facing a special wedding anniversary, going away parties, birthday parties, class reunions, summer church school groups, senior citizen dances, graduation parties, veterans group get-together’s, mothers day events, special business meetings, local government gatherings - the list is endless, but for many, the imagination is challenged.

Give Them An Edge

Your services as a singer or singer-songwriter can give an existing business an edge and make them more competitive in the market. This kind of partnership can also serve to provide you with valuable live performance experience, help with networking, and building a fan base. It can also provide new ideas for songs, while paying the bills.

Enhance Your Stance

It does not in any way cheapen the artist in you. In fact, it can give you a wide variety of experience to draw from as you build your career. As a singer, you will discover a number of songs to incorporate in your sets at regular gigs or at venues where someone is celebrating an anniversary or even grieving a loss. Many of these feelings and situations are both universal and intensely personal.

New Material

As a songwriter, you’ll likely create new material inspired by real-life, emotionally-charged situations. You might write a special song for a funeral based on what the loved ones have told you about the person they’ve lost. You might create an original piece about memories for a group of senior citizens. The opportunities to engage your craft and art are only limited by you.

Online Drive

You must create a website and/or take advantage of social networking sites like Facebook as you build your customer base. Use online networking to your advantage. Make sure your online contact info is on every piece of communication you share with those you serve and hope to please.

This will also help you build your business sense and hone your communication skills. You’ll learn how to be fully prepared for each event as you’re likely challenged a time or two by the unexpected. Be open to the requests and needs of guests and attendees at any function you serve.

Emotion-Stricken + Passion-Driven

Music is an appeal to what we feel. If we’re happy, we sing to celebrate. If we’re sad, we sing to grieve. If we’re hopeful, we sing to dream. If we’re lonely, we sing to remember what feels like home.

Always lead with humility, reverence, and gratitude as you serve a world of people that are emotion-stricken or passion-driven. Your goal is to help them find their tears, hopes, fears, joys, and dreams in fullness with integrity.

Over the years I’ve been exposed to a lot of theory about the creative process and about the will or drive to perform. The theories, exercises, and practices that resonate are most often the simplest. They are also the ones that affirm something in the heart or soul, making appeals for a reception, response, crying for an audience. These simple theories, exercises, and practices fear and revere feedback because it’s all taken to heart.

So we’re going to look at a simple exercise that you can readily engage whenever and however, as needed. Its primary purpose is to keep you honest, open, and vulnerable, so that you’re unshakably strong whenever you face an audition, fight through a rough rehearsal, hit the road for a stretch of one-night gigs, hit the studio for a long grueling session, or hit the stage of a venue thick with hecklers.

A Simple Question

It starts with a simple question that may require some time to truthfully answer. Then, once you have the answer, it requires setting aside time to connect or reconnect with the source of your truthful response. The simple question is: who do I sing for? That is the question you need to answer.

To get there, it will likely require some soul searching and may engage a few other questions to help you dig deeper. Questions like, why do I like this song? Why am I drawn to this style or genre? Why am I turned off by or don’t like this type of song or subject or artist or genre?

Resistance

I remember when I first encountered a variation on this question. It was posed by an acting coach who had prompted us to do a little soul searching and get more focused and become more passionate in our pursuit of a truthful, powerful performance. I initially resisted because I was in a group of 15 actors and felt way too vulnerable. I was afraid they’d laugh or think my response was stupid or pitiful in some way. But I was also a bit resistant to the exercise because I honestly had no clue about for whom I performed.

A Guiding Handful

You may discover, as I did, that there may be a guiding handful of people that you feel are present each time you’re called to write or sing a song or to play that first big showcase or sold-out gig. One of the things to bear in mind is anyone that you most strongly wish to hear and see you perform is in some way a part of what drives you.

What Drives You

By honestly answering this simple question, you have a tool that helps to keep you grounded as a performer, singer, songwriter, and artist. You can at times imagine them in your audience so that there is always a sense of feeling connected, of genuinely communicating, and of being appreciated. So, when you face a rough house on the road, you don’t feel as rattled, shaken, or disappointed because you have a better sense of what drives you to perform, create, and relate.

Surprise + Strength

There are singers I know that have had their faith strengthened or even challenged by this simple exercise. Others have been surprised by what they’ve learned, like it’s a family member that’s passed on or a favorite teacher they’ve lost touch with. One of the most interesting was a person that discovered they are singing for someone they remembered making them feel welcome when their family moved in the middle of the school year. She said that the memory of how that welcoming classmate now compels her to make her audience feel at home.

Inspire Change

This exercise will also stir ideas for new songs to write, new songs to add to your set, and it might trigger changes in style or the desire to experiment more as a performer, maybe with movement, harmonies, or your image. It provides a tool to make you feel more connected, engaged, alive, and purposeful.

The Power Of Emotional Appeal

The business by nature is an emotional one. This exercise will appeal to the emotions from a posture of comfort, encouragement, and personal power. In the coming weeks we’ll provide more simple exercises to help strengthen your confidence, sense of focus, value, and drive for singing success.

Have you ever daydreamed about your first big interview with Oprah, or your acceptance speech as you win your first of many Grammy ® awards? In your mind, do you ramble on through several lifetimes and channel changes, or do you see yourself with your chattering teeth chewing up your tongue, as you’re frozen in place with that deer in the red light stare at camera three?

OK, I admit those examples are perhaps a tad extreme, but you need to seriously consider how you will handle interviews, photo ops, onstage chatter, and other public affairs that will challenge your ability to effectively communicate.

The good news is there are trained experts in the industry that dedicate their time to helping artists like you sharpen their focus and fine tune the signals their sending. One of their key objectives is to reel you in, properly framed, so that you capture, captivate, and carry away the affection and attention of that audience you hope to reach. You’ll find your saving face of grace in this expert known as - the media coach!

Meet + Greet Laura Huie

Media coach Laura Huie has a proven track record haven worked several key positions in the journalism field for more than 15 years, both in hard news and in entertainment. The University of Georgia graduate started her journalism career in the investigative unit of WAGA-TV, the current FOX affiliate in Atlanta. This is where her interviewing skills began to become strengthened and sharpened.

So, she has first hand knowledge of the power of the misspoken word, inappropriate gesture, or bad attitude in sending the wrong message. She also knows what will work best to make you send messages that are clear, concise, and connect with your audience.

In addition to her work with WAGA-TV, Laura has reported and/or produced for the CBS Network and ABC Network, E! Entertainment, Access Hollywood, CMT, GAC, The Gospel Music Channel, and WSMV-TV, the NBC affiliate in Nashville. She’s also worked on camera in a number of industrial training programs. The list of celebrities she has interviewed includes a number of superstars, from Oprah Winfrey and George Clooney to Garth Brooks and Taylor Swift.

Q + A

Laura recently took time to answer a few questions about media coaching and the reasons why it is a vital tool for sharpening your image, making you a better communicator, and focusing your presence as more keenly competitive force in the music industry marketplace.

SSO: How did you get started in media coaching?

Laura: Actually, a publicist with a major label actually put the idea in my head about media coaching about five years ago. There seemed to be a need for it in Nashville, so I took some time to put together a curriculum and got started soon after. I started out with artists on independent labels, but now work with both indies and major label acts.

SSO: What skills does it require that you already had, and how has coaching refined those skills and developed new ones?

Laura: The fact that I come from a news background is a big plus. I know the inner workings of a newsroom and what an interviewer is looking for. And I still work in the television industry, so it keeps up my own chops. I’m here to demystify the media process…and I know from my years of experience, what an interviewer needs from an interviewee.

I got my start as an intern with an investigative department out of an Atlanta television station, so I really watched those journalists ask the hard questions and get answers out of reluctant subjects. Soon after I moved to Nashville in 1995, I landed a gig as an entertainment reporter with a local Nashville affiliate, and I was interviewing artists all the time…from album releases to charity events to awards shows and movie junkets.

Media coaching has actually helped me become a better interviewer. I understand better the artist’s point of view.

SSO: What are your key strengths as a coach? What has it taught you about yourself?

Laura: I come from a family of teachers, so it actually taught me that the apple doesn’t fall from the tree. But I’m naturally an inquisitive person, and I love people’s stories and the whole storytelling process. So I really enjoy sitting down with an artists and learning about them and then “pulling story”… i.e. finding out about their background, why they got into music, etc…

I feel like the above contributes to my key strengths. I’m also a people-person, and I like these sessions to be a team effort. It’s not just me standing up there telling an artist to do this or that. I really like it to be a discussion.

SSO: What are the biggest obstacles or areas of resistance you find in clients, and how do you address those issues?

Laura: Some people think I want to change them, and that’s the case at all. I’m here to learn their story and work with them in delivering it in a concise manner. We live in a sound byte world and if you ramble or don’t hit your message points, then the viewer or listener is more apt to change the channel or station.

Artists need to understand that they wouldn’t go out on stage in front of an audience without a sound check. So, they shouldn’t face the media without some kind of prep. After all, it’s your product you are communicating. Although you might have a publicist or manager, you are ultimately your own spokesperson.

SSO: What are the main reasons someone needs a media coach?

Laura: Research has shown that an artist has on-average 2.5 minutes of a listener’s or viewer’s attention. After that, they are more likely to change the channel or station. The key reason that someone needs a media coach is to get their messaging down so that when an interviewer sits down with them, they are able to deliver it.

I heard a great saying one time - “The first time you say something, it’s twice as long and half as good. The second time you say it, it’s half as long and twice as good.” Think about when you tell a story to your friends while having dinner… The first time you tell the story, you might take long or ramble a bit. But if you tell another group of friends the same story at a different time, I’m willing to bet you are more concise and get to your point faster.

Also, there are very different ways to handle print, radio, television and internet media. An artist needs to know how to handle each of those settings. For example, you can’t be sarcastic in a print interview because a reader can’t see your facial reactions or hear your vocal tone. Has someone ever read an email you wrote and interpreted it the wrong way? The same thing applies here.

Lastly, I coach someone how to be on the offense and in control during an interview situation - rather than being on the defense and having to react.

SSO: How long are your individual sessions and over what period of time do you work with an artist?

Laura: It all depends. I usually like to meet with them over a period of a few half days (3-4 hours per day) close together so that they can retain the tools and skills. But some artists are touring or already on a radio tour, so I try to make it work depending on their schedule. I have also done full days too.

SSO: Do you have contracts with labels or media outlets where you help groom their clients? If so, how does that work?

Laura: Some clients want an unlimited package so that I can meet with their artist on an as-needed basis. For example, if an artist is about to start their radio tour, I’ll do a few sessions to prep them for that. Then, say a few weeks or months down the road, they start to do more media, including television. So, I can then meet with them again and target issues they’ve discovered about themselves. I can also do refresher sessions.

SSO: Do you work with non-entertainment industry clients such as the Board of Education, police dept, fire dept, colleges, sports personnel - any places where a spokesperson often interacts with media?

Laura: I have done a few corporate clients and hope to do more. But my clientele is mostly artists right now.

SSO: What are some untapped opportunities for your coaching that you’d like to pursue or have contact you?

Laura: I would love to do media coaching for some of the reality shows. I see a lot of people on these shows that could really use the help! I’d also love to work with sports figures like the Tennessee Titans or the Nashville Predators.

SSO: What do you enjoy the most about your work?

Laura: I love the tangible results that I see after I’ve worked with an artist. In the beginning, to see them take eight minutes to answer one question and then later see/hear them whittle it down to a concise answer, is very rewarding. Also, seeing them get more and more comfortable and gain confidence with being interviewed is a wonderful reward. I’ve also really enjoyed working with publicists and managers in this realm.

SSO: So what are some of the tools you use in working with a variety of artists?

Laura: I do several kinds of mock interviews so that the person can see how they handle themselves on-camera. It’s amazing how this exercise opens their eyes to how they come across in an interview situation. A shy, quiet person will actually come out of their shell the more comfortable they are with the process. If someone is a know-it-all, I throw out some really tough questions that could be asked in a real interview situation.

I’ve also learned that by showing the artists examples of good and bad interviews that have been on television, it helps them understand how to handle different situations. I am constantly DVR-ing all kinds of shows that interviews people in the spotlight.

A person has to understand that how they come across in an interview can affect whether a consumer will buy their music, go to a concert, etc. In this economy, the buyer doesn’t just hand out money. If you’re a jerk on-camera, who will care about you, and why would they want to buy your product? The media process is all a part of the package; and it’s an important part. That’s why media coaching is an invaluable tool.

SSO: Thank you for your time and information, Laura!

Laura’s Points Of Focus

Laura works with artists to get them develop soundbytes that are effective in engaging the listener or viewer. She helps artists shape and define the message they deliver to truly reflect the image they wish to project. She gives her clients practice handling key questions that reporters will fire away at every artist at some point in their career. She teaches how to proactively assume control of an interview, with pointers on how to respond to tricky questions.

She shares media secrets that will help an artist comfortably navigate on-camera and radio interviews. This includes preparation for an on-camera interview with tips on wardrobe as well as speech and grammar. Laura also frames and focuses on the differences among television, radio, print, and Internet interviews. She offers strategic advice on the use of social networking as a communication tool.

Her approach incorporates mock interview practices as well as TelePrompTer training. Her interview sessions incorporate a variety of scenarios for print, radio, and television interviews. Refresher courses are available on an as needed basis.

Contact

To book an appointment with Laura Huie, or for more information, contact her at Laura.Huie@gmail.com or (615) 415-2460.

You don’t want your onstage banter to take the focus away from the songs you sing. On the other hand, a key part of engaging your audience can come with expressing a few kind words of welcome and thanks at the opening and more thanks at the end. But, what about all that time that passes in between that opening thankful welcome and that closing grateful goodbye?

Generally speaking, you need to limit introductions to songs. Oddly enough those breaks more often than not invite the audience to chat amongst themselves. The more they begin to talk, the less they’re primed to listen. Then, your performance becomes a battle of trying to get their attention. Each song then becomes little more than background music.

Story Points

On the other hand a relationship is formed between the performer and the audience member. If a song has a significant story or point of interest that will heighten its impact and deliver the message with greater clarity, that story or point should be shared. But it needs to be conveyed as succinctly and colorfully as possible.

In other words, let’s say a song is about a death in the family, you should say so. Then, if the song is a memory piece, it has a clearer point of reference in the heart of those receiving its message for the first time. If the song expresses an apology or a regret, it then has more power because the listener realizes the person has passed on. But again, you want to give only enough information so that the audience can frame the song.

Normally singer-songwriters just jump into each piece with little or no introduction. But there are many times as an audience member you can find yourself thinking things like, what’s he talking about or who is she angry at, instead of having that one little piece of information that would then keep you focused on the song.

Ask Yourself

The best rule of thumb is to ask yourself, what is the song about? Or if the song is a cover, what does this song mean to me that I want to share? If you can’t answer it in one simple sentence, you might need to rethink the song. But that might also indicate that your audience needs a piece of information to help understand the message.

For example, let’s say you write a lullaby, but it’s for the child you lost years ago. That gives it more meaning. And it draws your audience closer. Or maybe you’re singing a cover song that has a special place in your heart.

First Gig = First Date

Think of that information you share about your song selection as the sort of tidbits you might share on a first date with someone you really like and want to get to know better. Now don’t get all goofy and gushing and ramble on spilling your guts about absolutely everything you think, feel, dream, and crave. Just share information that helps your audience to more fully appreciate your work, enjoy your company, and want to hear more.

Test Run Your Yack + Whine

Always test any of your onstage banter with at least three people that will level with you. Make sure one person does not know you all that well. An ideal situation would be people with fresh eyes and ears who know none of your secrets and possibly didn’t even know you sing or write or both. But of course finding total strangers or people that barely know you that would be willing to listen is not very likely. A possibility would be acquaintances of good friends that don’t know you that well at all.

In any case, you must do a practice run of your in between song chatter and set ups for songs to work out the kinks, clarify, make cuts, and become more focused. If all else fails, do a video recording of the run-through of your banter; or at least get an audio recording; and then, have an in depth critical self-review.

Know What’s Happening

Be aware of any current events or goings on at the venue that your audience will likely relate to. A nod to a specific local cause or a nearby connection to one of your songs can be incorporated into your onstage talk. The worst thing is to clam up completely. The more relaxed and open you are onstage, the more relaxed and receptive your audience will be in the long run.

Head Off The Heckler

If it is clear that an audience member, such as a heckler, or a group of people are making it difficult for others to hear and appreciate your performance, make a general statement. Ask people to be considerate of those who want to hear. This will likely get the attention of a staff member that will then get the venue manager or owner that can then remedy a situation before it gets out of hand. Only do this when it is clearly a distraction not just for you as a performer but for others you see in the audience who are clearly distracted.

Give Thanks

And finally, always express gratitude. Thank your audience for coming. Offer a quick thank you or an appreciative nod and smile after each song. And then, close with whatever works for you as a simple, comfortable way to show gratitude for their time and attention.

When you’re actively engaged in gigging out, it’s important to set aside some time to make sure you’re prepared before you head out to the venue or hit the road for a weekend tour. Part of this self check should include a run through of a few worst case scenarios so that you will be prepared to press on in the face of potential disaster.

Recovery Rocks + Rules

Oddly enough, some of the most memorable moments in a live performance are often times of recovery. It might be how you handle a poorly timed effect, a techie’s missed cue, tuning issues, a botched lyric, and so on. If a situation is handled with grace, humor, and then with a kick-butt attitude as you soar above the disaster scene, you’ve created something memorable for your audience and for your ego.

A strong recovery can also boost your confidence, and it might even trigger ideas for new songs. It also makes for a killer bio blurb or press kit byte. Never underestimate the power of recovery, or your cover in a touchy situation, to help define your greatness as an artist.

It’s important to note that this advice is given because not every venue will be state of the art. These are tips that help you to be as self-reliant as possible. Even the geekiest road-running musical prodigy will face situations where the down-home roots of heart and soul must be tapped in order to make a hype-worthy, hip impression. You want to be strong enough to stand out should the sound fade and the lighting flicker.

Be Accessible

One of the key areas of prepping once again ties into communication. Be accessible while on the road or en route to a gig via your cell phone and laptop. If something comes up at a venue or for a band member or accompanist that is traveling separately, they’ll be able to reach you. Make sure you have contact numbers and email addresses handy for venues where you’ll be performing and for every member of your band or support team should you need to reach them.

Repair + Rescue

From a technical perspective, make sure any props or effects you might use are in top working order, and have backup for each. Obviously if you play guitar or mandolin or other stringed instruments, make sure you have extra strings on hand. If at all possible have an extra instrument on stage for back up. Keyboard players should have an extra keyboard for emergency backup as well. Drummers should have a cymbal and drumhead care kit on hand.

Stay Healthy

For vocal health, singers should keep a supply of baking soda, raw honey, and herbal teas with them on the road. Sweetened with a touch of raw honey, herbal tea can be soothing to the throat. As for the baking soda, it can help ease minor throat irritation. Add a small amount of baking soda - between ¼ and ½ teaspoon - to a full cup of warm - not hot - water. Then, gargle, in small doses as you finish the cup. It’s recommended that you gargle with your voice at a higher pitch. This is suggested because your epiglottis will keep the solution from entering into your vocal folds. This baking soda mixture can also be used to help relieve a touch of indigestion due to acid in the stomach. Simply measure out baking soda, water, stir and drink up.

Be 411 + 911 Savvy

Obviously if you’re traveling any distance from home, or are on an extended road trip, make sure your vehicle is sufficiently serviced before heading out. In your pre-planning, make note of any auto service locations along the way should your vehicle need attention. Also look for the locations of any urgent care clinics, hospitals, or pharmacies should medical attention be required. Check out the local news for the area where you’ll be performing so that you’re aware of weather issues and any events that might influence your choice of material.

Extra Tunes

Finally, every singer or singer-songwriter should have additional songs rehearsed that can be plugged into a set should the situation arise where additional material is required, encores are requested, or a prepared piece for some reason doesn’t feel right once you’ve checked out the venue and have a read on the audience profile.

Or, maybe you have a song that you think will speak to a situation that has impacted the venue or its locale in some way. It doesn’t hurt to have a song or two that works for birthdays, anniversaries, or newlyweds should you be playing somewhere and notice that you’re vying for attention with a gathering of some very vocal, spirited people that are celebrating.

These are a few key issues to address that will help you be better prepared for contingencies and will allow you to be more flexible and adaptable in your gig-to-gig journey on the road to your singing success.

It’s important to become as comfortable as possible at performing live. So many things can change so you need to be able to quickly adapt as you move from dance club to hole in the wall to rehearsal to studio session to outdoor concert.

Obviously it’s best if you have time to scope out a situation beforehand; and in most cases you probably will, but life happens. You’ll face traffic jams, weather issues, faulty hook ups, poor sound systems, bad lighting, crowd noise, hecklers, delays, scheduling mix-up’s, and everybody’s favorite - poor communication.

This is why you need to be fully rehearsed, as rested as possible, and well prepared for contingencies so that when Murphy’s Law is enforced, you keep your cool and use your coping skills to take charge of the situation.

Communicate Concerns

This week we’ll address the issue of communication. Whether it’s members of your band, the venue owner, the club manager, a booking agent, a hotel - it’s important to check and double check to make sure that information you have is accurate and to make sure that information you pass along is fully understood.

As your career takes off you will have others taking care of your travel details, venue issues such as technical demands and limitations, food, sight lines, scheduling, and so forth.

But, even in those situations where someone handles those details for you, you want to have back up plans in place so that if something goes wrong, you’ll proceed with minimal discomfort and not freak out.

Make A Checklist

So, first rule of thumb, make a list of all concerns you have about a specific upcoming gig, even if it’s as simple as an open mike night, a five-song set at the corner coffee house, a charity function at the local community center, or a family reunion in the park. Each situation may have unique demands for common areas of concerns and will likely have an exceptional issue or two that needs attention or is something you need to be made aware of.

After you have your list, determine which items you can take care of yourself; and for the other items, find out who you need to contact. Run your list by someone you trust who is knowledgeable to see if there is anything you may have overlooked. Then, proceed to check off each item as you either get information or relay information to someone at the venue. Always keep track of names and times of contact.

Call Once More The Day Before

Once you work your way through your list; make sure you verify the information the day before your gig. Things can change very quickly between the time a date is set and the day of your performance. In fact, things can change between sound check and performance.

But, the general rule of thumb is: check and double check in your initial communication; and then, make sure you check again the day before your performance. This gives you time to make adjustments to any changes.

Check + Double Check, Please

So, what do we mean by check and double check what’s communicated when you make your initial contact? You want to mirror back information you’ve received so that what you’ve heard is what the contact meant to say. Many times we make assumptions about things we think might be common knowledge.

So, for example, the venue contact might not mention something about hook-up’s or restricted staging space because they assume you’re familiar with their venue. So, always repeat back what you’ve heard, and ask questions of the contact so that they confirm what you have told them.

For example, let’s say you’re performing on a busy night where there are three or four acts. Instead of doing a quick sound check just before each act they want to run one at three in the afternoon. You might ask, so is everybody supposed to have sound check at three or is that just me? Let’s say they snap back with, we do sound check at three. You can then politely respond in a concerned voice, so all four acts are at three? Then, based on the response, you’d verify your sound check time and get their name.

In most of your small clubs, road houses, and similar venues you do your sound check just before you go up. But whatever the demands for each venue or performance situation do the following: make your list of concerns, make contact, double check the details and understanding of the information you provide, double check the information you receive, make note on times and names of contacts, and verify all information the day before your gig.

Anything Else You Need?

One of the most frustrating issues is poor communication, and it is almost entirely avoidable. You don’t ever want to be in a situation where you find yourself saying, “Well, if I’ve known that…” or where you hear the club owner or venue operator say, “Well, if you’d told us that…” And you definitely don’t want to hear the following deal breaker: “You never asked.”

After you make your initial contact and have finished your list of concerns, always ask, “Is there anything else I need to know, or anything I haven’t covered that you need from me?” And then, ask this again on your follow up call to verify the day before.

Remember that the best singers are powerful communicators. Your commitment to conveying every nuance and detail in the message of a song is what will set you apart and help to define your singing success. So, as you prepare for each gig and gala, let that attention to detail and delivery of a clear message be your signature song!

If you are looking for a book that offers no-nonsense, straightforward, sensible, trustworthy, non-gimmicky, clear-headed advice on healthy eating and is an enjoyable, easy read, you need look no farther than Food Rules: An Eater’s Manual by Michael Pollan.

The book was recommended by a cardiologist. In fact, it was his prescription, outside of getting myself up and moving on a regular basis. I went straight from the heart center at Centennial Hospital in Nashville to Borders Bookstore on my quest to find this cornucopia of common sense and simplicity in today’s often sadly dysfunctional relationship with food.

Heart - Humor - History

Pollan’s deep pocket-sized paperback published by Penguin Books is barely 140 pages. But those pages are as nutritionally rich in substance as the wild greens that populate the countryside throughout the Mediterranean region. Each morsel of advice makes its point with heart, humor, and often with historical references.

The book is comprised of sixty-four rules to follow when it comes to food. One of my favorites is: “It’s not food if it arrived through the window of your car.” Another gem is: “Don’t eat anything your great-grandmother wouldn’t recognize as food.” And then, there’s my personal favorite: “Have a glass of wine with dinner.”

This quick-fix, instant-gratification, bigger-is-bigger lifestyle that we tend to counter punch with the latest quick weight-loss, detox, colon-cleanse solutions is ultimately unhealthy. It keeps us bouncing between being out of sync and out of touch with what we really need to refresh, refuel, relax, recover, and rebound - naturally.

Healthy Habits + Wise Choices

This book is a wonderful, easy to follow guide for developing healthy shopping habits, making wise menu selections, and creating nutrition-rich recipes, while educating us on realistic portions. In fact, it’s suggested that we should get smaller plates and bowls so that we can get back to a life of moderation, with the occasional treat or two or more. Pollan says we can even break the rules from time to time as long as that time is not too often.

Culture + Spice + A Fuller Life

Pollan’s handy reference resource for knowing what’s good to eat incorporates the dietary wisdom of a variety of cultural traditions to add spice, flavor, and color to the many simple choices that can help us live a healthier, more enriching, fuller life.

This food-wise guide book is divided into three parts: What should I eat? (Eat food), What kind of food should I eat? (Mostly plants), and How should I eat? (Not too much). Each section gives you more than enough to chew on and digest in order to feel fully satisfied.

When not shopping at your local farmer’s market or harvesting your backyard or window box garden, Pollan’s Food Rules: An Eater’s Manual is the perfect handy pocket consultant for your trip to the grocery store.

Share Your Plate Full Of Grateful

In closing, I invite each and every one of you to buy this book and get a copy for someone you love. If you know anyone who fights heart disease, eating disorders, struggles with energy, self-esteem - but enough about me - seriously, get yourself a copy of Food Rules: An Eater’s Manual.

Buy one (or more) for a friend, and enjoy the good health and hopefully good fortune that will follow as you bring your very best to the pursuit of your success in singing, songwriting, music - the whole nine yards of life and beyond!

Before we move on to the focus of part two of image discovery, let’s quickly review markers and drivers. Markers are those plot points or defining moments in your life where a significant change has taken place. It can be a shift in perspective or how you feel about yourself or where you’re headed. It can be a change in circumstances such as moving, loss of a friend or family member. It might be a physical condition or disorder of some kind.

These markers represent significant turning points and life changes. These are things that have had a lasting impact once they took place. Some of these might seem insignificant or minor to someone else. Only you know what has had the strongest impact on helping shape your thoughts, feelings, values, and personality.

Drivers are the things that stir a passion in you. When people say I don’t want to push your buttons, those buttons are in some way part of what drives you. They stir a call to take action. They motivate and serve as an energy resource to help you press on, regroup, rebound, follow through, and strive to shine.

Drivers can be teachers, friends, idols, activities, places, events, and causes. The strongest are those that feed your desire to make a difference, become more savvy, grow wiser, smarter, and better. They bring out the hunger to be seen and heard.

Common Connections

Look over your two lists for each of your drivers that has been directly influenced by one or several markers. Let’s say for example you lost a very close friend or loved one to cancer. It was life-shattering when it happened. Then, you noticed that one of key causes that you identified as a driver is your commitment to breast cancer awareness.

Let’s say you also notice that another one of your drivers, someone that inspires and encourages you, reminds you of the friend or loved one you lost. So what you want to look for now are any clear connections between those markers that represent changes, awakenings, or turning points in your life and drivers that have been enhanced or created by those markers.

As you make connections between drivers and markers, you then look for common factors, qualities, and interests that are clearly part of what connects a specific marker and driver. In the example above, it could be compassion or it might be community service or healthy lifestyles.

The Connectors

But remember that the common factor, or what we call the connector, is what you see. There is no right or wrong answer here. Somebody else would probably not connect the two things. And even if they need, they would probably not see it the same way as you do or experience feelings about the connection to the degree that you feel.

What you see as the connector is what matters. What you see or think or feel about it reveals what’s important, what moves you, what changed you, and what serves as a point of power in moving forward, coping, thriving, and in helping you shape and define your image.

The strongest determining factor that will serve as guidelines for defining that vibe, persona, flair - everything that goes into that unique image you wish to project - rests in these connectors or points of power between your markers and drivers. These connectors reflect your triumphs, great joys, deep sorrows - they represent the spectrum of shadows and light that give real depth and texture to your life experience.

You’ve Got The Look

If you’re going for a look, see it in terms of the light defined by those connectors or points of power. For the example we looked at earlier, maybe you would look to find something you could use in your wardrobe that stands for compassion or possibly even represents breast cancer awareness. It can be something very subtle that only means something to you or to the friend that passed away.

Maybe it’s their favorite color or a favorite fragrance or flower. It could be something symbolic. Or, it could be something very obvious or quite literal. Use these connectors to help you make personal touches as you pull together the look you like and is true to who you are and what you believe.

Sing To Connect

When choosing a song set or creating new material, use your connectors or points of power to define the way you want to connect with your audience. Ask yourself what it that you want to appeal to in those who hear your voice and music.

Check your connectors to get a sense of that bond you’d like to form with your fan base. But also use your drivers and markers as subject matter to explore for the songs you sing and the stories you share.

Using markers, drivers, and connectors or points of power are a fun, informative, affirming way to help you be true to your unique life experience, your values, and your desires to move people through your gifts.

We get a lot of questions about image. What should I do or not do? What should I wear? What should I change or even surgically alter? What types of songs should I sing? Should I create a fake bio that makes me ten years younger? What should I lie about to make myself freakier, geekier, more mysterious?

These are just some of the questions that come to mind when you stop to consider what you want to project or how you’d like others to see you. For many, the question becomes something like: how do I create a look or a vibe that will spark a buzz that leads to fame and fortune, with all of the trimmings and trappings?

Many books on self-image start by having you examine how you see yourself and how you think others see you. Though that’s a bit simplistic, it’s certainly worth considering since “others” for you as a singer, songwriter, performer, or artist, represent your audience. So, it’s reasonable to want to know how you’re perceived. But…

Be True To What Rules

We’ve said this before, and we’ll continue to say it because it bears repeating, especially in an industry that is market driven and often promotes success at all costs. The key to creating your image is to be true to yourself.

Be grounded in who you are - first and always. That’s your starting point. Even if your goal is to create a public-persona or some larger-than-life character that sings and performs, you still need to be true to your values, beliefs, and heart.

The better you know yourself, and the truer you remain to the people, values, and beliefs that matter to you the most, the better equipped you will be to separate your public life and artistic persona from your private self.  You don’t want unclear boundaries, unhealthy relationships, and unrealistic expectations to rise up and get out of hand.

Of course you want to have a successful career. But remember, the more successful you become, the demands of your public and private life will likely be taken to task, thrown off balance, and even threatened by compromise.

So what can you do to create an image that’s unique, marketable, easy to put on or take off, and remains true to who you are at heart? We’re glad you asked. Believe it or not, everything you need you already have with you. It lives in the highs and lows, wounds and healing, falls and fumbles, dreams and disappoints you’ve faced. That image is shaped, colored, and strategically lighted by markers or turning points you’ve worked through. It lives right alongside what drives you to get up, get out, and get over it or go for it, day by day.

Markers + Drivers

To help you get started with establishing and then refining your image, you need to take a good hard look at those markers and drivers. You’ll learn more about what you value, care for, and crave. You’ll gain a better understanding of your fears, doubts, stumbling blocks, strengths, weaknesses, and vulnerability. You’ll be better equipped to clearly set boundaries that you can live with publicly as a performer and live with privately as you indulge your day-to-day routine.

To determine the markers, you may need to set aside an hour or so for a few days until you feel that the most critical markers have all clearly been identified. The time this requires will vary with each individual. You don’t want to get too bogged down in details, but you don’t want to dismiss or overlook any key issues, life-changing circumstances, or events that have served to shape the person you are today and are still becoming.

Mark Your Spot To Get Started

To get started, sit down in a place where you feel most free to be yourself and fully relaxed. Your goal is to make note of your markers - any defining moments or turning points in your life that had a strong impact on changing how you feel or think.

For example, maybe your parents divorced. Maybe it’s an event like the 9/11 attacks. It could be the loss of a loved one or the birth of a brother or sister. It might be the first TV show you became hooked on or a character you identified with. It could be your first celebrity crush.

Maybe it’s your first swimming lesson or your first outdoor concert experience. It could be a devastating breakup with your first boyfriend or girlfriend. It could be a memory of coming of age as a young woman or young man or an embarrassing, hurtful moment in gym class at school.

Think of your life as being a series of “plot points” in a screenplay that you’ve been called in on as a consultant. So, when the movie is made you want to make sure that the impact of each of those key markers is duly noted.

You may have only five or six that you feel have significantly shaped your views, heart, spirit, thinking, humor and so on. Then again, you may have twenty or more. The main point is to note the ones where you were clearly changed in some way by what happened. Once this is done, put the list aside, and forget about it for a few days.

The Drive To Sing Out

Next, you want to consider the drivers in your life. These are the things that stir your dreams or prompt your passion to get involved or take action of some sort. These drivers can be people, places, events, causes - anything that lights a fire with the desire to make a difference, get stronger, be seen, be heard, and have an impact.

It can include things that tick you off or even make you cry. Your drivers represent the broad spectrum of what compels you to stand up, sing out, play on, and let your voice be heard. What do you life for, sing for, hunger for? What spurs you to go the extra mile? Make a list of these things that spark dreams, desires, service, achievement, and a unique sense of purpose and place in the world.

Tune In Next Week

Now that you have your markers and drivers, you’ll have to wait until next week to find out what to do with them. For now, simply review the lists you’ve created, adjust as necessary, but also make note of any noticeable changes in how you feel or see yourself since working through to identify your lists of markers and drivers. Touching base with your drivers and markers will definitely stir things up.

One of the keys to survival as you work to secure a spot in the music industry is to be very clear on the things you won’t do and don’t do. It’s vital to have principles, ideals, and behaviors that will not be compromised regardless of how much you’re pressured, how tempting it may be to bend, or even if a potential career move is possibly delayed or even denied by standing your ground.

This isn’t meant to imply that you need to be a prude, narrow-minded, judgmental, unresponsive, snooty, or unapproachable. The goal here is to have clearly defined boundaries that remain firmly adhered to. These boundaries are set up to keep you focused on the pursuit of your career goals while maintaining healthy personal self-care. You want to be consistent and keep your integrity intact.

Belief = Value

One of the problems with a wide-open “anything goes” attitude, or expressing the willingness to do anything just to “make it,” is that not only can it put your reputation at risk, it can encourage self-destructive behaviors that will ultimately take their toll on you both personally and professionally.

Having no clear, healthy boundaries often conveys desperation and a lack of focus. It can imply that your work or craft is not to be taken seriously. It can diminish a sense of respect that you’re hoping to earn from critical contacts in the business. Sticking to your beliefs and values will ultimately convey strength.

Advance Not By Chance

A simple self-assessment will help you find key areas where you will not compromise. It will also make you aware of any issues that are potentially harmful or even dangerous that you need to evaluate further so that you can clearly take a stand for the sake of (1) positively advancing your career and (2) being able to live with your choices at the end of each day.

That is not to say that you won’t make mistakes or have some regrets; you most likely will. You’ll just have less of them, and you’ll be clear enough in your thinking and strong enough in your spirit to learn from the mistakes and regrets and proceed as you make stronger, wiser choices.

I Won’t + I Don’t = Focus

For your self-assessment write the words “I won’t/I don’t” in one column. In another column write “Consequences.” You want these to be standards by which you will press on. These standards will help you freely pursue your career and live your life with minimal negative side effects and set backs.

Your list of things you won’t or don’t engage might include eating or drinking habits before a performance, audition, or rehearsal. It can involve drug and alcohol use or abuse.

It may be issues of becoming intimate with someone because you’ve heard or you think it might open a door for you. It just might - the exit door. It might get you a gig that you’ll end up paying for because word travels to your next potential gig and so on. It can’t keep you from getting gigs because that behavior isn’t tolerated.

Get Clear On What’s Gray

The goal here is to be very clear and up front with yourself about the things you will not indulge. And you must understand the potential consequences of saying yes and saying no.

Anything that becomes a gray area for you, or where you notice you’re hedging or conflicted when you write it in the “I won’t/I don’t” column, stop and consider the consequences. In other words, if you indulge the behavior or bend the promise you’ve made to yourself, what could happen. Then, consider what could happen if you steer clear of that behavior, practice, or situation. After you weigh the potential fallout, ask yourself if it’s something you can live with. Then, make your final decision.

Generally speaking it is these gray areas that present the greatest potential for self-destructing as you spiral out of control. On the other hand, these gray areas, when resisted, present the opportunity for your greatest growth and strength of character. It works just like compression with the voice. That resistance and tension creates a powerful, impressive, dynamic, strong voice.

Frame Your Freedom

Once you complete your list, you will have essentially mapped out boundaries that will serve to protect, strengthen, clarify, refresh, and focus your pursuit and enjoyment of a career as a singer, singer-songwriter, performer, teacher, musician - whatever you choose. You’ll be much happier with yourself personally in the long run as well. Those boundaries as a whole will serve to frame your freedom.

Your list can also serve to help you craft your song sets, develop original material for songs, and even aide in a search for causes to get behind. It will help you be a better friend, a more vigilant vibrant member of your community, and will allow you to more fully appreciate all the free space in which you have to play, work, and grow without shame, guilt, worry, or self-loathing.

Setting boundaries and standing your ground will help you keep that wonder-child alive in you, that part that can approach a song with a clear heart, fresh eyes, and a grateful, creative spirit.