• The Rockstar doesn’t look like a Rockstar

    The Rockstar doesn’t look like a Rockstar

    We misremember

    I asked my friend why he wanted to dress so crazy and bring such a planned persona to the stage. He said he wanted to show up like a rock star. I was confused. “In what way?” “What’s a rockstar?” to him a rockstar is someone polished, full of ego, flashy, fearless, an icon of perfection in the realm of boldness.

    I can relate to that FEELING of what a rockstar is. The feeling broke down when we had to name rockstars and look at how they are.

    Check out this rockstar

    Mick is doing an amazing performance of rock and roll! he’s badass. Super charismatic, super energetic. He’s not god-like at all. He’s extremely human. That’s what makes him magnetic. That’s what makes him powerful. That’s how he owned livingrooms and the studio. That’s how he made a career.

    This is what a great performer is. We want to see peak humans. We might transform them in our memories to something else. As entertainers, or public speakers, or leaders; this distortion of reality is detrimental to us. It holds us back from letting it all hang out.

    That’s the power of a rockstar. They show up fully. They don’t just present a little piece of themselves. They put it all out there and it’s insane to experience.

    Take action

    Be flawed. Be total. Think about something you TRY to do on stage or in life. Stop trying to do it. Just show up with energy. Watch video of yourself and compare it to what you’re trying to do.

  • Branding Shortcut : Scot Nery’s Sentinel Technique

    Branding Shortcut : Scot Nery’s Sentinel Technique

    My goal with marketing and curation is to have people say “Fuck yeah! This is made for me!” So I don’t play the numbers game. I play the quality and value game. I try to find the ideal customers that have a huge lifetime value so that when I get them, they show up, they love the experience, the evangelize it, and they give me lots of money. It’s way more fun for me to hang out with fun people on my mission than people who bought a Groupon.  

    It works

    We had great success with Scot Nery’s Boobietrap when we started focussing our marketing and curation on one actual person. Our sentinel guards our treasure for us. They are our high value customer. I would write an email to my sentinel very specifically, then remove his name from the top of the email and send it out to 4000 people.

    I’ve shared this technique with lots of creatives and it has saved them a lot of time and made their work more enjoyable.

    “Scot flipped a switch for me, and I immediately enjoyed doing the work that I used to hate!” ⭐️⭐️⭐️⭐️⭐️ Brad Barton

    Specific is universal

    That’s why I invented this Sentinel technique. Marketers often us demographics / psychographics which are very general. To get more specific, they’ll use avatars (which are fictional characters). I find getting a real person is really instructive because I know exactly how to talk to them, I can empathize with them, and they have quirks that are important that I might otherwise overlook.

    Take Action : Start understanding

    here’s a google sheet it has examples. Fill it out now with your favorite customer

  • Give the Lowest Price Possible

    Give the Lowest Price Possible

    From working with a ton of creatives on their pricing, I’ve found it’s important to remember a few things.

    Artists have good hearts. We want to do things that are generous. We want systems that are sustainable. That means that we need to be able to put love into what we do. When we try to figure out how much money someone has to give us, or what are the standard rates, it can feel crappy because it’s comparative, confrontational, and transactional.

    I tell people to ask the lowest price possible

    Asking the lowest price possible is surprising to many people because they they know I’m negotiating 5-figure gigs.


    The simplest system for pricing a gig is…

    1️⃣ I imagine the whole job

    2️⃣ I ask any questions I need to help imagine the job fully

    3️⃣ give the lowest rate where everyone can walk away from the gig giggling

    The root of underpricing fear is lack of fulfillment

    The bad jobs where we feel we were paid to little are the gigs where they didn’t use us completely, or we feel like we gave them a lot that they didn’t need. The number on the check is completely separate from this.

    We gotta be courageous in putting a price out there. If the client and i are on the same page about the offer, there’s no rejection possible. There’s only us agreeing if it’s a fit.

    imagine the right way

    We get better at this as we get experience. We know how things often go and what will be required. We know how tired we are when we’re done with a job, etc.

    To imagine thru a job, we think about what’s gonna cost us jellybeans – (time, energy, money, and other resources [ like reputation ]) Then, we also imagine what’s going to give us Jellybeans. Now, money isn’t the only Jellybean on the table. When money’s the only thing, I charge a shit-ton.

    In general, i listen for things like…

    • is this person going to be fun to work with?
    • will i be given the opportunity to succeed?
    • how much value will they get out of me?
    • am i irreplaceable in this situation?
    • is there flexibility – If i had to cancel last minute, would it make little impact on them?
    • will i need to do an irregular amount of work?
    • what are travel and prep days?

    I have tried making a perfect list of questions

    This imagining process is better than a repeatable list of questions. It gives me the ability to truly serve my people.

  • Everyone HATES Competition

    Everyone HATES Competition

    My favorite ways to be athletic are non-competitive. My favorite video games are couch-coop. I’m a social eater. I love collaboration. I like being physical too. I used to invite tons of people to go with me to batting cages.

    I know this is wildly hypothetical. Imagine Michael Jordan has a choice… he can choose a basketball career where he get’s all the fun and challenge of the sport, he gets to work with a team, he gets to make a ton of money, and he gets to win and he can do it completely without comparing or competing with anyone else.

    Numerous studies have shown that corporate environments where there’s competition between employees are less productive, less ethical, more stressful, and less lucrative.

    What do we dislike about social media? the comparison, the competition.

    Games are great

    Games are behind every single thing that we do. Some board games and sports are set up completely dependent on competition. Every game needs 3 things – A worthy goal, the adequate amount of cost / challenge, and control.

    Competition isn’t the only way to make a game, but it’s often cited as required for gamification

    Within a competitive structure…

    Goal : get validation from self and others by being comparitively worthy

    Challenge : the challenge increases as our competitors increase their skills

    Control : we can see weaknesses in our competition

    The alternative…

    Instead of trying to get validation from claiming a piece of a scarce pie, We can get validation from doing good things and being around loving people. Instead of depending on competition to add to our challenge, we can constantly find new games to play that are leveling up from prior experiences. Instead of looking to take something from others, we can find a feeling of control by making tasks easy and living in our wheelhouses.

    Take action now…

    We can pick one thing in our lives that’s been dragging for us. Then, root out the competition aspect of it so we can get it done. When I’m trying to bake bread so my friends can eat it, it’s way more motivating & fun than trying to bake bread because everyone else at the potluck will bring some great food.

    Play the game WITH others

  • Commitment size

    Not everyone’s ready to book us immediately. They might be ready for a small commitment. Here are some commitments that are possible from an email in order of magnitude for most people….

    1. mark as Spam
    2. Read spam
    3. Read delete
    4. Read reply
    5. Read ponder reply
    6. Read watch video
    7. Read view website
    8. Read view website respond
    9. Read say ok to meet
    10. Read set up meeting
    11. Sign contract 🥰
    12. Refer
  • Q&A : producing a ticketed show

    questions: venue size and selling out

    THANKS!!! So I’m producing a dazzling and beautiful multi-disciplinary short show at The Broadwater in Hollywood (4-19 and 4-20 in the evening exact time tbd) as well as a family friendly matinee 4-21 at 2pm and 2:45 pm (location tbd probably Pan Pacific Park).

    It is a 99 seat theatre the mainstage. Folks are saying I should book a smaller space. I like the bigger venue with high ceilings. WHat are your thoughts. and either way how do I get a full sold out show?

    THANKS

    answers: small and motivating

    Big questions! 

    I find smaller venues are more flexible in rental deals and expectations. When we get above 50 seats, there’s a pressure to sell tickets really well and exhibit certain professionalism. A small venue gives us a chance to experiment with any aspect of the production that we wish. 

    Selling out the show is a matter of people understanding the value of the show is more than the price, believing that it will happen, and being ready / available to attend. Find / create  those people and you’ll sell out. It took me years of doing weekly shows before my seats were consistently full. A lot of experimenting with content, ticket selling strategy, organization, etc.

    Scot

  • The new scot

    The new scot

    I’m hungry for more showbiz impact! Who wants to help me?

    Ever wondered if I’m still hitting the stage with live shows or if Scot Nery’s Boobietrap is making a comeback? I’ve shifted gears to play a bigger game in entertainment. It’s not just about my spotlight anymore; it’s about lighting up the stage for other incredible peeps.

    I’m not zigzagging around the world to wow 200 folks over three days, I’m now behind the scenes, hustling to score gigs for three kick-ass entertainers. more smiles per mile

    Here are some of the things i can think of that happened over the past year… (names abbreviated for privacy)

    • AF : Got a booking connection at the magic castle
    • ES : Redid sales technique. Asked 3 times as much as they wanted to
    • MP : showed how to pitch. got nearly 3x as much from a repeat client
    • NS : doubled bank account in one NYE booking
    • ZG : reduced proposal time drastically and lead to better communications which landed a gig
    • TW : new website, new photos, new proposal technique that landed a great gig, showed them tools for faster promo material, helped create video content
    • NJ : booked a TV appearance
    • LS : explored venues, marketing aesthetics, and ticket selling techniques for a residency show
    • DW : redone website, brand overhaul, helped them look at themself in a new more valuable way, booked them for a gig, connected them with a potential future gig
    • DJ : Helped set up a completely new business that will lead to more performance opportunities and better network connections. New website
    • HA : rebrand, website, connection to cruise ships
    • DM : connection that led to a US tour
    • DC : a new look at sales techniques and help talking to a prospect
    • BK : an overhaul of approach that lead to singular focus, more online sales and more members in their subscription group
    • AF : renovated website, improved local promotion and networking
    • EW : new site, new fliers, rebrand
    • MH : new flyers
    • LG : new sales techniques and new website critique
    • BC : new EPK, rebrand
    • ND : new website design and rebrand. Testimonial from a celebrity
    • JB : sales advice, branding advice
    • MB : new EPK and rebrand, network connections
    • MM : new ticket selling / promotion strategy. social content feedback
    • CR : rebranding, new website
    • TR : logo overhaul, branding and strategy for sales
    • SC : Sales techniques, performance feedback, network connections, ad feedback
    • CM : Show enhancement, complete stage show aesthetic overhaul, new intro video,
    • JC : Team building
    • CN : Site overhaul, rebranding, sales consulting, booked them for a gig
    • SB : Saved them possibly $100k in a consulting call
    • RL : new website in a day, rescued online presence
    • SS : helped get the highest grossing day of career, new site design, new brand, new sales, cut out dead work
    • AL : helped negotiate biggest contract
    • ZG : show enhancement – added a feeling of fulfillment whenever they performed
    • TW : Casting for two parties
    • AA : rebooked at their fav festival, negotiated 25% more from a repeat client, two new sites
    • KB : improved website, negotiated 25% more on top of an already signed contract, design feedback for theater show promo
    • DI : now charges 3x more than he wanted before. entered a new market that’s in line with their ethos.
    • BN : quit their day job
    • TN : new site. rebrand, retooling sales and marketing
    • BC : overhauled casting process and organization of contacts
    • BL : multiple high profile, high-stakes rapid website changes
    • SS : casting
    • AM : completely redefined how they saw themself
    • AB : Got booked twice, new website
    • NB : did a performance
    • BB : introduction to crucial contacts at performing arts centers
    • RW : casting
    • JP : booking connection with dream venue
    • CF : show enhancement consultation
    • NK : graphic design for high-profile experiencial event
    • UU : experiencial design
    • ZS : web rescue and new site
    • JO : new photos
    • NS : 4 new sites and video
    • VV : new site
    • MH : new headshot
    • JK : show enhancement
    • SH : website updates and strategy, video editing, kickstarter consulting
    • PM : TV pilot concept
    • MB : Site overhaul

    The show’s still going on… mostly thru zoom crying with my friends – listening to them and helping them thru all the hurdles that lead to their dreams. Bigger and better than ever. Let me know what I can do with you.

    MakingAnImpact #BehindTheScenesHero

  • Sentinel Technique

    Branding the easiest way I can think of. Use my sentinel technique I invented.
  • The gig entertainer ramp

    The gig entertainer ramp

    I made a tool for gig entertainers so they could get more of the gigs they want. It’s awesome and has helped folks make more money and do more fulfilling work already. It’s called the Gig Entertainer Ramp Originally, it was called the Gig Entertainer Survival Kit 2024. i wanted to change the name to reflect the positive and uplifting effect of it.

    I’m trying to get this thing out to thousands of experienced entertainers so they can get massive benefits. We all want different things from our work (some want to travel, some want to stay at home) (some want to be busy, some want to have free time) (some want families, some want adults, some want kids) (some want artistic expression, some want to help corporate people)… so there’s enough to go around. If we can get the right entertainers in the right gigs, audiences will be happier, freelancers will make more money, freelancers will find FREEdom and the world will be a happier and healthier place. I would love your help getting the word out about it. https://www.scot.fun/ramp

    here’s a summary of what the Ramp is…


    Scot Nery’s Gig Entertainer Ramp is a comprehensive tool designed for gig entertainers to enhance their performance and business success in 2024. This platform is aimed at assisting entertainers in securing better gigs and improving their overall impact and earnings in the entertainment industry.

    Crafted by Nery, a renowned emcee and showbiz consultant with extensive experience in the industry, the Ramp is a reflection of his expertise and knowledge. It offers a range of practical tools and insights for entertainers. The focus is on real-world experiences and challenges that entertainers commonly face, such as booking gigs, engaging with different audiences, pricing their art appropriately, and maintaining creativity in a competitive field.

    The Ramp includes strategies and wisdom from Nery’s own experiences and the broader entertainment community. It is designed to be practical, straightforward, and at times unconventional, mirroring the diverse nature of gig entertainment. Nery emphasizes the importance of offering tangible, useful tools rather than selling unattainable dreams, with a focus on empowering entertainers to attract and energize their audiences effectively.

  • Ticket Buyers : easy communication

    We have a lot to manage with shows and we’ve gotta communicate with a lot of people to make it happen. I found a shortcut to communicating with customers. It’s what lead to selling out every week for a show that nobody wanted in the most difficult place to sell tickets on the worst night of the week… while Meranda and I were wearing all the hats producing the #1 show in LA. 

    I invented the sentinel technique. The gist is, I pick my favorite customer. A real person who has bought from me, who gets what I’m doing and who has high value. I talk to them. This serves them well and attracts other people like them. The sentinel guards our treasure for us.

    Sales become higher value when they’re specific to a customer. When a customer says “fuck yes! This is made just for me!” They are going to be willing to bring more to the table and expect less.

    Start with the impossible, then figure out if it’s realistic.

    Our customer had a real name. We called him “Shary” ( because he shared the show so much ) so he wouldn’t be creeped out if he caught wind.  Shary was our sentinel.

    He believes good live entertainment could happen in LA and he wants his friends to know about it. He loves being in the know about underground entertainment. He also…

    • Likes obscure music
    • Is a member at the magic castle
    • Wears expensive shoes
    • Is single
    • Lives in an apartment
    • Works at a big production company

    I knew a lot about him, so I could get very specific in communicating with him. I could go extremely specific with any aspect of who he is and it would still be okay with people who don’t fit his profile.  I was surprised when I started serving him, how people started coming in that were insanely the same as him. 

    I would write an email to him… completely to this one real guy… then I would take his name off the top of it and send it out to our 4000 person email list.

    It is so much easier to write an email to one person instead of trying to figure out what’s going to hurt someone’s feelings, or is going to be unappealing to a low value ticket buyer. 

    If I thought something I was doing was too specific to Shary, I could always pull back and be “realistic” at that point. I started with the impossible idea that I could have and attract only dream customers, and I tried to see how far I could go with that. It always worked and it got us to sell out every week quickly.

    The sentinel helps with everything

    Since I see all this marketing, sales, value stuff holistically; I started booking the show to still have a good singer songwriter, but now I wanted one that Shary has never heard of. I wanted to book great magicians that he has heard of so that he could tell his friends “this is the week to go!” I made TV appearances not caring how many general ticket buyers would see it. I wanted a clip that Shary could share with his friends. I wanted to help him have more credibility with his friends.

    Here are the ways marketing people define their audiences in ascending order of efficacy…

    1. “Everybody” – we think every single person in the world is a potential ticket buyer
    2. Demo / Psychographics – try to make a profile of ranges of attributes for customers (eg: age 30 to 45, female, $100k-$500k salary)
    3. Avatar – a fictional profile of a customer who represents a slightly narrower demo/ psychographic
    4. Sentinel – just some weirdo

    We have limited bandwidth. We need every move to be surgical and powerful. We don’t need everybody. Whether we’re in an arena or a black box, we have a limited number of tickets to sell, so we want to reach the minimum viable audience with really high value.

    The next step is to think of who our sentinel is, then write down everything we can think about them. Go crazy on the details. 

    It takes bravery to be focussed. Being scattershot takes less responsibility because it’s unclear whether we’re succeeding or not.

    “For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.” – James Joyce

    Get a sentinel and serve them. They will bring a horde that will serve you. Hope this helps to cut through your workload.

  • More Ticket Revenue

    I’ve been having a bunch of candid conversations with people who are trying to sell more tickets or get more attendance at things. I’ve gained a lot of insight on what’s working and what’s not working in this new post-COVID, pre-AI world. The basic thing is that people are more picky about doing only the stuff they want, so when we pursue marketing, we gotta do it super effectively.

    Here’s a thing a lot of people selling tickets don’t think about: lifetime value of a customer… For HP, the initial value of a customer might be $20 for a printer, then that customer buys lots of ink. When the printer breaks after two years, the customer probably wants to stick with the familiar so will buy another printer and more ink.  This means that if it costs HP $20 to get one customer, they’ll still make a great profit over the customer’s lifetime. The printer may cost more to advertise, produce and distribute than it sells for. This is called a “loss leader”

    When I started doing ticketed shows, I was thinking I would make the ticket price from each customer. I think my first show a couple decades ago, I was charging $10 / ticket. So, I wanted to spend $0 on advertising / marketing. I needed that $10 for buying a karate vest or whatever.

    After selling lots of tickets with very DIY marketing, I started thinking in lifetime value and suddenly had more money to spend AND I sold more tickets.

    Here are some thoughts on improving the lifetime value of a customer for our ticketed shows…

    Motivate group sales. Some people want to buy more tickets. There are people who buy tickets for a group of friends, then sell them to their friends. There are people that bring families. Even someone on a date has a higher value than a solo person. Set up stuff that encourages this.

    Sell again. Many people will watch the same show twice if there’s a chance to. This baffles me and I’ve seen it over and over.

    Merch. Turn your performance into a merch selling machine. Make sure the merch amplifies the core value of the show.

    Sell different. If we’re doing a new show every year or every 3 months or whatever and it’s made for the same people, we can stay in touch with them. Keep serving them. Then, give them the opportunity to experience our new show.

    Make them evangelists. Things go viral for very clear reasons. Predicting the level of virality is difficult. Understanding the core of it is pretty easy.

    Get them to breed. If we can just get them in committed and fertile relationships, we can … ah, skip this one. That will take too long.

    Increase buy-in. If we can make the customer experience something special that they feel committed to, they will be willing to invest more.

    Find new ways to serve. Our ideal customer is probably someone we like. We can think about who they are, what they need and what do they come to us for. Then we can find new ways to serve them. These might seem like complete left-field ideas and they might be just the right-thing.

    Raise ticket prices. Many people are doing low and discounted tickets as a way to incentivize purchase. These incentives are crappy because you save me $50 on a ticket, I still need to take 3 hours out of my night, I have to get a babysitter and pay for parking, and take a risk on a show that’s not good enough to charge full price… It’s probably not worth the cash savings. Especially because the competition’s often open to the same compromise. Instead, we need to create and communicate more value.

    Sell again and again… sometimes the core value of what we do stays the same or increases on repeat visitation. A bowling alley keeps the same lanes and the same balls and the same chemical filled shoes and it gets better the second time we go. I’m not going bowling so that I’m surprised by the balls. I’m going for the social experience and to feel like I can do some athletic ability. My show Boobietrap got better each time people came because they would get more in on the joke. they would get to know the performers and feel part of the community. They would get more comfortable in the pretty uncomfortable situation. They would always see new details in the show that they missed before.

    I hope you are able to amplify the lifetime value of your customers so that you can make more money, get more attention, and share more of the awesome that you do.

  • The Making of the Gig Entertainer Survival Kit: Real Stories, Real Triumphs

    The Making of the Gig Entertainer Survival Kit: Real Stories, Real Triumphs

    In the world of gig entertainment, every performer’s journey is littered with both landmines and goldmines. It’s a path I’ve walked, and I’ve seen many of you tread it too. The Gig Entertainer Survival Kit isn’t just a toolkit; it’s a testament to our collective stories – the gritty, the triumphant, and everything in between.

    From Trials to Triumphs

    A friend, let’s call him AL, who nearly threw in the towel after being told he’d never be rebooked. But we turned that around. He not only got rebooked but became a top choice at the venue. Then there’s Dan, who believed his art was just a side hustle until he tripled her gig fees and made it her full-time passion.

    These aren’t fairy tales. They’re the hard-earned victories of people who live and breathe their craft. People like you and me.

    A power nudge

    We’ve all had moments when a little nudge, a piece of advice, or a new perspective could have made all the difference. That’s what this kit is – it’s that nudge, that advice, that new perspective.

    It’s born out of the real highs and lows we face: booking gigs, handling tough crowds, pricing our art, and maintaining our creative spark in a world that often tries to snuff it out.

    So much stuff

    I’m keeping the lid on all the specifics (got to have some surprises, right?), but expect a mix of personal insights, strategies I’ve used and seen work, plus wisdom from our community. It’s practical, straightforward, and, let’s be honest, a bit unconventional at times – just like our gigs.

    No Sugarcoating Here

    This isn’t about selling dreams. It’s about providing tools based on real experiences. We’re in an industry where smoke and mirrors are part of the show, but not part of our growth.