David Abbott with Rick Jensen, Festival PR Advisor
A long time ago I owned a retail store and learned you have to wear a lot of hats. Customers need attention, staff sometimes needs more attention, marketing needs time, accounting must be precise, displays scream for excitement and so many other things. So I learned early on how to wear many hats in my career.
It is happening again – a new familiar hat is coming back on my head. Don’t worry! I will still be the Executive Director of Festival of the Arts. On Monday, November 26, 2018, I am going back into retail as my side gig at Fitzgerald’s Menswear in Breton Village. Selling clothes and styling men are in my blood. I say it comes from my mother when she worked at Jacobson’s in the “Mr. J” shop. The theatre of retail and hugging your customer so fits. Wow – it fits me being at Fitz!
When researching where the phrase “wearing many hats” came from an article popped from Paul Jarvis in my feed. It just fit the conversation of Festival of the Arts and how an artist makes a living.
You’re going to need to wear a lot of hats
By: Paul Jarvis
Wouldn’t it be great if being a brilliant artist was all it took to earn a living?
We could spend our days with words, canvases and music, creating our art until we dropped of beautiful exhaustion. Rent, food, college funds, insurance could be worries for someone else.
Sadly, when art mixes with money, we’ve got to take on (or hire) several responsibilities beyond just creating our art. We’ve got to be lawyers, accountants, sales people, researchers, and marketers too, if there’s any hope that our art will sustain us.
Taste (as Ira Glass famously said) cannot be taught, so most of our artistic abilities come from constant work and our innate talent for creating. The rest of what we need to take care of to make our art work for us needs to be learned, and most of the time, learned very quickly.
To pursue your art as a creative professional, here are a few things you either need to learn quickly or be able to afford hiring out:
Not in the sleazy car-sales or travelling vacuum peddler sense, but in a way that actually provides value to the people you want your art to connect with. It’s not enough to price your art at “what it’s worth”. The price has to be “what the market is willing to pay for it”. And if you want your art to sell, you’ve got to tell the right people about it in a way that fits your style.
You’ve got to price your work accordingly, revise as necessary and make sure what’s coming in isn’t less than what’s going out. Keep track of expenses and for the love of Van Gogh, live within your means (or under). Hire an accountant or keep meticulous records of everything you sell and buy, beyond keeping receipts in shoeboxes (or Evernote).
Understand your audience
You aren’t going to please everyone and not everyone is going to want your art. The good thing is that it’s much easier to please the right people than all of the people.
Share your work with them as often as possible. Connect with them, seek them out and offer help/insight when applicable. It’s interesting how much value there is in taking time to listen to what your audience is saying.
Understand how to not get screwed over
Contracts are funny things. Most of us creative professionals can’t afford to actually take someone to court, but we also need to be aware that not everyone is an altruistic, loving, and most importantly, paying, customer.
Contracts are more important to define a mutual understanding than anything legal. What is a client getting, exactly, when, and for how much. Making these things absolutely clear (in writing) goes a very long way towards not getting screwed.
If you aren’t good at or haven’t figured out all four of those things, learn. Take courses, read books, ask others questions. Get good at them quickly or earn enough to hire them out. If you aren’t comfortable connecting with your audience or selling to them, find an approach or style that does feel comfortable for you.
I easily spent the first few years working for myself getting screwed over. By clients and by the government (ok, that never stops happening, but at least now it’s done in expected and planned for ways). And I didn’t have a clue about connecting with the right people, in the right way.
Even after many years of working for myself, I still don’t have all the answers and there’s lots I still don’t understand. But I’m slightly closer, I think.
The good thing is that once you have those four things under control, you can focus more on your art and defining what success means for you.
Hi, I’m Paul Jarvis, author of Company of One. I’m a writer, designer, podcaster, online course teacher and software creator in real life on the internet. I have more tattoos than you, and I’m ridiculously introverted. My goal is to help folks build better, not bigger, businesses.
Paul Jarvis is a designer who likes writing (or vice versa) and has worked for himself since the 90s. He wrote a book called Company of One™ (Jan 15, 2019 release), which is being published by Houghton Mifflin Harcourt.
His courses—Creative Class and Chimp Essentials—have been taken by more than 13,564 paying students. His writing has been talked about by everyone from Ashton Kutcher to Arianna Huffington. He’s worked with clients, such as Microsoft, Danielle LaPorte, Mercedes-Benz, Marie Forleo and Warner Music. His ideas and words have been featured in WIRED, Fast Company, Vice, USA Today and more. As a totally random aside, his photography has been seen on Greys Anatomy (the TV show).