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Let's build a Virtue Rolodex of Artists/Authors/Passionate Experts today!
Yesterday, I spent a delightful hour talking with Andrew Allemann, founder of PodcastGuests.com. I’d like to share some of the highlights of our discussion.
Andrew identified a much-needed service. I can’t tell you how much time I’ve spent searching for podcasts that were still on the air–we’ll just leave it at frustrating countless hours! When I would find a podcast that I would like to be a guest on, I would carefully craft my pitch and send an email. In the majority of the times, I would receive no answer from the host or a response that confirmed my suspicion that the podcast was no longer active.
Andrew is a blogger and podcaster. As he discusses in this interview, he started PodcastGuests.com because he was tapping out his Rolodex of connections and began searching for a new set of guests to interview. He spent that same amount of time I have and then decided to create this service. I joined up and then asked Andrew to join me on All Things Creative.
I found out some exciting information from Andrew. First, I found out my audience is quite exceptional. Many of my podcasts have been downloaded from 2500-3000 times–meaning I have that amount of listeners! He provided that the median number of listeners falls in the 200-300 range. Art Chat/All Things Creative ranks in the top 20% when it comes to the number of listeners. If that isn’t awesome enough, consider this perspective. If you could get the number of your listeners (so, let’s roughly say 2500 of you) all sitting in one room for a presentation, would you be excited about that? You bet you would!
With that in mind and knowing some folks just aren’t interested in organizing a podcast every week or month, let me ask you this. If you could talk about your book, art, maybe your a voracious reader who would like to talk about the books you are reading, or whatever your passion is, wouldn’t be awesome to be able to share that with an average of 200-300 people? Well–then maybe you should become a guest on the right podcast. PodcastGuests.com can help you get linked up with those appropriate shows!
Now, as I noted above, I have joined PodcastGuests.com at the premium level. When listening to the show, you’ll hear Andrew and I talk about building the art side of this business. So, I’m encouraging my fellow authors, artists, friends with a passion, readers–anyone with an interest to listen, guest or become a podcaster–to sign up for this great service. PodcastGuests.com has three entry levels: free, basic ($9/month) and premium ($29/month). Click here to join:
As I said, you can join for free: Click here (You will receive a newsletter with featured guests, but more importantly if you love to listen to podcasts, you will be introduced to shows that you may not have heard of before! Awesome!)
What does $9 a month get you? (This is for those who want to be a guest. You will get a listing which you can check out here.)
Your own online “one-pager”
Profile listed in expert guest directory
Simple profile URL you can share with others
Podcasters contact you directly through your profile
Link to 1 website
Listed in one category
Profile visible in the expert directory
Want to start podcasting and be a guest? Then I recommend that you join at the premium level for $29/month. With this package you get the following services:
The basic package PLUS:
Link to up to 3 websites
Listed in 2 categories
Profile featured above non-Premium profiles
Booking accelerator: Your profile featured in the newsletter on a rotating basis sent to 3,000 people!!
You can unsubscribe from the service at any time, so why not give it a try? Click here to join today! Help Andrew build a virtual Rolodex of artistic experts today!
Here’s the podcast which contains some excellent advice for being a guest and a podcaster. You can listen or watch the video. The video on youtube “introduces” you to the site, so you may want to watch this episode versus just listening.
Thanks for all your support and taking time to listen! Questions? Email me at lfisler(at)lindafisler[dot]com (remove the words at and dot and put the symbols.)
It is interesting traversing through two different art worlds. I live in the visual art world painting nature and all that entails. I also live in the writing world, authoring books. The common thread in these two worlds is being able to market your wares to the masses. In studying both worlds there seems to be a prevailing and very disturbing trend.
I read with interest two articles in the past two days. One was about how art has become a commodity and a commodity will be bought and sold at what the market can bare. So if I were Monet, Koons, Hirst or any of the big names (mostly past masters of exceptional art and post-modern living artists) I could expect to demand millions for my commodity. If I was part of the game being played by the wealthiest of wealthiest people in the world, I would be making money on some sterile, unemotional, drab piece of art and probably laughing about it all the way to the bank. Who wouldn’t laugh at someone paying $58 million doors for sculptured balloon animals and butt plugs. (Here’s the article if you missed it).
The other article touches on my writing world. Seems that Amazon and Simon & Schuster have reached a deal that will allow Simon & Schuster authors to be sold through Amazon at lower prices. Amazon declares that readers want lower prices, especially for ebooks. Simon & Schuster maintains that author’s share of income generated from e-book sales will not be effected. All this press release jargon is posted to make the uninformed feel good that they can buy a cheap book and the author gets paid a higher percentage of the price than the publisher or Amazon. That couldn’t be further from the truth. (Here’s a link to that article) In fact the quote at the end of this article says it all–“By putting the squeeze on publishers, Amazon is ultimately hurting authors and readers,” Krugman wrote. He concluded that “what matters is whether it has too much power, and is abusing that power. Well, it does, and it is.” The “it” in here is Amazon.
What happens with the Amazon/Simon&Shuster model or any model where price is a only factor (or is it greed?) is in fact that the creator of the art gets less money for their effort. The authors at Simon & Schuster will receive a signing bonus. If they are lucky their sales will go beyond the signing bonus, but they probably will not, especially now with this deal with Amazon. This means they will not receive another penny for their work. The average person doesn’t realize that an author only makes a few dollars on any book sold and even less than that at Amazon. The people making the money in this scenario are the big corporations. As a result of the deal, Simon & Schuster will just grant lower signing bonuses on future books or may even institute a no signing bonus deal. Royalties paid to the author may remain the same, but I highly doubt it.
Who actually wins when we take art and make it a commodity, losing the emotional experience the purchaser wants? The answer is the big corporation at the expense of the person who created it.
But here is something to think about as you make your next purchase. The artist’s or writer’s process (and you can add musician here as well) to create the painting or book has not changed. It was a birthing process, a struggle full of pain, ecstasy; the full gambit of emotions with the result being the beauty that you experience when you see, hear or read it. Each artist strives to bring you an emotional experience. We want to entice you to connect intimately with our work. With that in mind, let me ask you this question. If you could put a price on one moment in time that you will remember forever; like the first time you held your child right after birth or the last things said to your loved one as they slipped away to the other side, how much are you willing to sell that memory? If selling that moment means that you won’t remember it ever again and it will be sold to everyone, like a commodity—with no emotional attachment to it, would you do it? The emotions of that moment and the experience of that moment are priceless, right?
Please understand that just because a large corporation devalues the piece of art through their corrupt value concept where they profit at the expense of the artist/author, doesn’t change the creative process/effort of the artist/author. Don’t get me wrong, we create because we are compelled to do so. It’s in our blood. We have to do it. What we don’t have to do is share it with the world—especially if it means that the artist/author isn’t respected for the producing their creative work. Imagine the world without quality art, music and books. Not very exciting is it? Maybe the old saying “You get what you pay for” really is true.
What do you think?
Riesenberg Fisler finished her latest commission this past week. It is of her Grand Niece, Tessa. This 3 year old is all curls and sunshine!!
Riesenberg Fisler was honored to paint this angel and she thanks her Niece for the opportunity. It will be shipped off to their loving home in a few weeks after it is dry and varnished.
The Impressionists were and always will be Fisler’s favorites. The obsession with light and shadow, use of color to express emotion and temperature, and their rebellious nature has always interested her. It drew her into the study of their work and understanding of their lives. When first asked how she wanted to paint by Larry Doud, her first instructor at the Middletown Arts Center, Fisler replied, “Well, like Monet, of course!”
Fisler journeyed to France at the end of May and the trip would not have been complete without a stop at Giverny, which is the home of Claude Monet and his magnificent, mystical gardens. Very well attended by current day gardeners with the full intent to keep his gardens as they were when Monet was alive, the number of visitors in one year reaches well over half a million people. Most believe that his gardens were large, when in fact they are smaller than you would think, especially when you consider that close to 200 people are wandering through the garden at the same time!
“We arrived shortly after it opened and were quickly rushed over to the Japanese Garden complete with the footbridge and water lily pond. This was a dream come true! It was the most perfect morning light. It was virtually impossible to take a picture without getting a person in the shot.” Fisler recalls. “I just kept telling myself as I lined up the shots I wanted to take, ‘You can always edit them out when you paint this one’.” She adds with a smile.
We couldn’t resist in asking if she intended to paint Giverny. “Of course! I have always wanted to go there and stand where Monet has stood to paint his masterpieces. It was so mystical to stand in the various places he stood to paint. I squinted and recalled paintings he did, searching for the colors he saw. They were there and it was so transcending to think that he labored in that very spot, struggling to convey what he wanted to convey. It was so humbling to know that there were times when he felt he failed at what he was attempting. I could feel this strong need and urgency to paint the garden, just as he had felt too, I imagine. It really was a transcendence.” Fisler pauses for a moment and adds, “I could feel his passion for the gardens and could see the beauty, as everyone could, but there is a calling to try my own hand at it. I am glad I went there and I’m ecstatic to have just experienced the gardens.”
With all the people around maneuvering to get their shots and talking in all languages, Fisler said it was almost impossible not to overhear others’ conversations. “But there was a reverence in their voices–no matter what language they spoke-you could hear it. No one spoke above a whisper. Even the school children who were there to learn about Monet were quiet.” Fisler smiles as she recalls an exchange with another visitor. “There is an opportunity to tour Monet’s house. I preferred to remain out in the gardens and just experience that beauty. I was up toward the exit from the house taking in the whole scene of flowers, from irises to roses, laying before my eyes. Their fragrances tickling my nose. I took a deep breathe when a person exited and very bitterly stated to me ‘I wanted to see his studio, not just his house!’ At first I wasn’t sure she was talking to me, so I didn’t answer. She rather insisted I answer her question by restating it. ‘Where is his studio? I didn’t care about the house. I want to see his studio!’ It was clear at this point she was talking to me, so I answered her by unfolding my arms into an open embrace of his garden and said, ‘You are looking at it!’ To which she answered. ‘Oh, he painted plein air?’ It was probably the weirdest and yet funniest exchanges I had the whole trip.”
Fisler did manage to find his indoor studio, located next to his house and not open to the public. Monet painted outside as much as he could, using it as vehicle for his numerous masterpieces. There are photos and films of him painting both indoor and plein air. In 1916, with his eyesight failing, he built an indoor studio to work on large paintings of water lilies like the one which fills a huge room in the Orangerie Museum in Paris.
“Of course it is just a guess, but something deep inside lead me to the place where I took the photos of what I like to think was his studio. This building was behind the wall and encapsulated in the sane parcel of land that his house and floral garden were situated”
We don’t know about you, but we are looking forward to seeing Fisler’s interpretations of Giverny. Her favorite place in Giverny? “The Japanese Garden, naturally, looking back to the footbridge but down into the pond where all the reflections of the colors dance in light and shadow. That whole garden just softly calls to me for some reason.”
She chuckles, “I wish I would have sat down and just meditated for a while, but it was too crowded and too much hustle and bustle to do that. Guess I’m a bit selfish but I have to say that I would have really liked to have been there by myself. Ahh…but I know I’m not the only person to feel this way!”