If you want to be commercially successful before retirement age then you will have to learn how to schmooze.
Based on the old adage that it isn’t what you know, it’s who you know, schmoozing is about building networks of contacts that can help you get ahead.
It presupposes you want to compete for access to the limited opportunities or resources available to artists, and that you recognise in order to improve your chances of getting that exhibition space, publishing deal, or grant, you need to be ‘in the loop’ and, wherever possible, on friendly terms with the decision makers.
Trouble is how do you get yourself known in the right circles? Especially if, like many of the artists I spoke with, even the idea of schmoozing is daunting.
In the olden days schmoozing used to be known as networking and, according to the Vault Guide to Schmoozing, there is a difference. Whereas ‘conventional networking is the clammy science of collecting business cards ad infinitum, of cold-calling near strangers to grill them about possible openings in their places of work and beg them for favours,’ schmoozing is the more natural and effective ‘art of semi-purposeful conversation: half chatter, half exploration.’
So you see it’s networking, not schmoozing, that gives us the heebie-jeebies.
A publicist I know once said, ‘favours are often won, and jobs attained by people’s personal response to other people, not just their fabulous skills. A good schmoozer makes everyone around them feel comfortable.’
‘A good schmooze should never feel fake. People can appreciate that they are being schmoozed (that they are important enough to be schmoozed) but they should also feel a genuine warmth coming to them from the schmoozer.’
So what are the do’s and don’ts? Well, I’m going to first talk about the do’s and hopefully the don’ts will then become self-evident.
There are five key things it pays to remember whilst schmoozing: Listen, empathise, enthuse, be prepared, and where appropriate, keep your pitch simple.
Like any conversation schmoozing is a two way thing. Listen to what the other person is saying and respond, rather than just blathering on about yourself (not that you would). Some corporate guides to schmoozing suggest a ratio of 80% listening to 20% talking is appropriate.
Displaying empathy is akin to showing respect, and we all know that mutual respect is a solid foundation for friendship. Be mindful that the person you are schmoozing may not be as knowledgeable as you about magic realism, or they may be schmoozing themselves (very likely) and might need to hurriedly disengage to catch somebody else before they leave the room. Being polite and considerate will give others confidence in you as a person. Also it looks professional. As you explore what someone else can do for you be mindful of what you might do for them. A bit of back scratching never hurt anybody.
Everyone loves being enthusiastic! Of course there is a fine line between enthusiasm and coming across like a zealot, but it’s well-signposted, and as long as you stay on the right side of the line you’re on to a winner. If you are able to convey your enthusiasm and passion for your craft in an interesting manner, then you simply cannot be ignored.
Preparation is essential, from having business cards in your pocket to knowing how to explain your work in plain English, nothing is more crucial when it comes to schmoozing. Imagine how you’d feel if you met a patron of the arts, travelling across the country, who wanted a ticket to your next show, but you couldn’t find a pen or paper to take down her details? Similarly, what if you mixed your words when asked by Charles Saatchi to explain your latest creation? Practice talking about your craft, allow yourself time to get comfortable ‘talking shop.’ If you want commercial success you will need to market yourself and schmoozing is an important part of that process.
If, mid-schmooze, you feel the moment is right to make a pitch, be sure to keep it simple and brief. Get to the point early on. If you don’t get the response you hoped for ask why, without being too pushy. Just because a pitch isn’t successful when used on one person doesn’t mean the pitch, or the person, is null and void. Knock-backs should be what artists live for. Every rejection is one step closer to an acceptance.
Once you’re confident enough to go out there schmoozing, where do you go?
Strange as it seems you don’t have to go anywhere. My philosophy is that anyone and everyone deserves a schmooze. Remember how six degrees of separation works? You never know who it will be who has the friend who has the cousin who knows the person that can do you the favour that will lead to your big break.
The key is meeting people, preferably those working in, or with some experience of, your sector.
If you have time then you might consider becoming a volunteer at a relevant festival or event. Visual artists should be chatting with local galleries, securing invitations and attending opening nights. If you’re at university, schmooze with lecturers, fellow students, and guest speakers. Remember it’s about learning from other’s experience as much as it is about building networks. If someone tells you such-and-such a gallery only considers artists with pink dreadlocks, then you’ll know either to avoid wasting your time pursuing them, or reach for the hair-dye.
As the Vault Guide asserts: ‘Schmoozing is neither project nor process. It’s a way of life.’
Oh, and if anyone needs a writer to do their media releases, etc. I can be contacted at…
