On the Telephone
Planning is the key to making your phone time count. Make a list of the items you want to discuss with the person you are calling, and then arrange the sequence of those items to make sure you discuss the most important items first. This may all seem fairly basic, but it helps avoid replaying the conversation in your mind and being left with the thought of: “and another thing I wish I’d said … ” When setting up an audition, you want to make sure that you know who you are singing for, what they are especially interested in hearing you sing, where the audition is, when the audition is, and whether you need to pay an audition fee.
Be careful to have the files and papers you might need at your fingertips, along with your calendar. If you have to leave a message, try to make it concise, and speak slowly, clearly and distinctly, so that the person will understand what you are saying. Let people you call know when you will be available for their return phone call, and always tell them the reason for your call. Always give your phone number twice, once at the beginning of the message and once at the end. (Many people that you call may already have your number, but they might also be calling in for messages and may not have your number with them.) When you leave your name, in addition to saying it, spell it out. (“This is Sally Star: S-T-A-R.”) If you slow down and concentrate, you can leave the right kind of message on the other person’s voice mail.
Take notes during all of your business calls, and remember, never write down a phone number without adding the person’s name. When you listen to your messages (either at home or on the road), if the message requires some sort of action, take notes on a big piece of paper. (One note per page makes for easy filing and good records.)
The Written Word
Before you start writing, always ask yourself: “What is the most important piece of information I want the reader to know?” Get to those important points quickly, so that your first paragraph states the purpose of your letter. Don’t make that screener wade through a sea of paragraphs to find out that you are the heldentenor he’s been seeking! If you have a role under your belt that is difficult to cast, or you have already sung one of the roles mentioned in the audition listing, be sure to mention that right away. If you have an important reference, or a local connection, be sure to note that as well.
If you’re having trouble putting your ideas on paper, read the sentences aloud so that you can listen to the sound of your written words. What sounds good usually reads that way. Be sure to mention the person’s name and the name of his or her company throughout your note, and sign it by hand.
The best letters are short and concise, and not more than one page in length. Of course, always run your spellchecker and your grammar checker before printing or sending the final version of your document, and take the time to reread everything before you present it. Check carefully for the correct spelling of names of persons and organizations, and confirm that any telephone numbers and/or website addresses are accurate. For important correspondence, have somebody else proofread the document. Lastly, file those notes that you make, and file them daily.
E-mail, Internet and Computer Considerations
Most people receive so many e-mail messages that they don’t ever get around to really reading them. Use your subject line wisely to make your e-mail more enticing—it’s the first thing recipients see when they open their inboxes. Try to find a way to make the subject jump out at the reader. For example, if an action is required on the part of the reader (“Attend Rehearsal Tues 10AM at Nola’s”) put it in the subject line. If you’re hoping for an audition appointment, this is your chance to let someone know you’re the Queen of the Night they’re having trouble finding.
It may be tempting to do otherwise, but it’s important to maintain good writing standards in your e-mails. Just as outlined above, put your most important info in the first sentence of the first paragraph, and any background or supporting material in the following paragraphs. Try to keep the e-mail short enough to fit on one screen, so the reader won’t have to scroll through the message. For messages that are longer, make it an attachment. Better yet, re-write it so that it fits on one screen.
Always keep in mind that e-mail messages are not private. They are very easily forwarded and shared. This works both ways: When you receive an e-mail message you can’t assume that it hasn’t been copied, or blind copied, to others. The important thing to note here: If your message is important, controversial, confidential, or could easily be misunderstood, it’s best to use the telephone, or set up a face-to-face meeting.
If you’re receiving too much e-mail, or it’s taking too much of your time, it’s time to reevaluate how you are using e-mail. The key is communicating effectively! Because the messages are sent electronically, you may feel this primal urge to read and respond to them immediately—but before you drop everything to reply right away, ask yourself whether it’s really because the message is so very important.
Here are some ways to combat the onslaught:
• Don’t interrupt yourself every time an e-mail message arrives. Force yourself to stick to those set times you have scheduled in your day to wade through what’s arrived and what’s important. You’ll give more thoughtful and effective replies.
• If it’s not absolutely necessary for you to reply, don’t.
• When you reply to an e-mail message, keep your response short and sweet. Give “yes” or “no” answers whenever possible.
• If an e-mail includes a “to-do” item, immediately note it on your master list. [Editor’s Note: For more on effectively using a master list, see Ms. Strempel’s October 2005 article, “How to Set Up a Singer’s Home Office.”]
• When you send or receive an e-mail message that contains important info, save the file on your hard drive or print out a copy and put it in the appropriate file, so that you can find it when you need it.
• Turn off the computer beeps or trumpeting that announce the arrival of every new e-mail, so you can remain uninterrupted and focused on your important work.
Use the Web effectively to help you get the word out about your singing. This means that you need to get, maintain and use your own personal website. A website can help you connect to future employment opportunities, and help you keep in touch with people interested in your career. If you don’t have a personal website yet, start by seeing what others are doing and how they are doing it. Keep a list of things you like, so you can incorporate them into your own website design. [Editor’s note: See Michael Richter’s helpful May 1998 Classical Singer article, “Your Website—The New Way to Audition,” and Jo Isom’s September 2004 article, “Singer Web Sites Made Easy,” both in the archives on the Classical Singer website.]
Ask folks who attend your concerts, as well those who land on your website, if they would like to be on your e-mail list. This is a wonderful, inexpensive way to keep your name in front of folks, and a valuable way to let family, friends, and fans know what you’re up to and where folks can hear you next. Be sure any e-mail invites include the basics of what, where, why, and when, as well as any ticket information and directions.
Finally, all of your computer communications can be more efficient if you set a regular, weekly time to back up your computer, delete any outdated files, and back up your computer. (Oh, did I mention that already?)
On the Road
A few communication precautions before you travel can save you both time and money. Take a moment to call and confirm an audition appointment or a rehearsal set up far in advance, especially if you have a long commute to get there. Whenever you schedule a rehearsal, make sure that the person has the correct spelling of your name, and then ask the person to take down your phone number. Say something like, “Let me give you my number so that if something unexpected comes up, you can give me a call and we can reschedule.” This forces the other person to actually write your name down (a good thing for people who schedule appointments without writing them down). Secondly, it lets the person know that you’re serious about your time.
You can keep up your end of the bargain by trying to arrive at all of your appointments at least five to 10 minutes early. When you try to arrive early, it increases the odds that you’ll arrive on time. Of course, call ahead if you are running late. This lets others know that you respect and value their time—and by calling and finding out if the other parties are still available, you can avoid rushing to a rehearsal that isn’t going to take place. Finally, try to use your commute time wisely. This can be a great time to memorize music or brush up on your German grammar.
For long trips, make travel lists prior to each trip. Save those lists, and soon you’ll have a great tool to help you minimize stress and maximize your effectiveness. [Editor’s note: See the very helpful December 2003 Classical Singer article “How to Pack For Europe” to learn how to create your own personal travel lists.] You won’t miss an important item in your packing, and you won’t lose sleep the night before you leave, worrying that you’ve forgotten something.
Make up an itinerary for every trip you take that includes the names, addresses and phone numbers of everyone you’ll be meeting, and the hotels at which you’ll be staying. Make a copy to bring, and leave a copy at home.
Document all of your expenses with a daily journal of your activities, and collect receipts. You might find expense account software helpful to standardize this task: www.concur.com and www.captura.com are sites that provide programs I can recommend.
This article isn’t going to give anyone the secret to communication success—each of us needs to find that in ourselves. But take a moment to think of your unique skills, talents, and abilities, and then take the energy to communicate and share the best you that you can be.
