Writing and the Collaborative Process of Creating Live Experiences

-By Ruth Moyte

It all begins with a spark.

The writing process is not much different than the event planning or design process. In fact, there are many aspects we share in common.

Like event planners and designers, my focus is to create an experience that blows the doors off the room. In fact, I'd go as far as to say that writing might be the integral element that can make or break an evening. There is nothing worse than setting expectations with an exquisitely beautiful room and then hitting guests with an uninspired program. Poor writing can suck the energy right out of the evening. Yawn.

Words drive emotion. Emotions drive events.

A provocative writer is a critical resource that should be in every event pro's arsenal to help clients achieve their goals. Words shape our emotions. Words command rapt attention; they have audiences jumping out of their seats cheering, dabbing at their eyes with a tissue or reaching for their pocket books to support a cause. As creative professionals, we know this to be true, because we create emotion all the time.

This is where the process really begins. Like you, my first step is to spend time really understanding what the client wants to accomplish with the event. Sound familiar?

Writers seek the same information that you find valuable; we just use it differently.

Pre-writing includes information gathering. We talk with the client and find out what their needs are, their specific purpose, and the goals for the finished product. The same step applies to design and event planning. Who is the audience? What is the purpose of the event? What is their ultimate outcome? The list of questions is long. I call this the ideas and inspiration stage. Once you have a general idea, it is time to expand on it so you know what you want to include in your rough draft, initial design or event plan. This is where I outline the concept and flesh out ideas that are important - just like you do.

Another thing we have in common is the need for time. So often, people say to me, "I need you to write a script, (blog, marketing campaign, creative proposal, speech, award submission, etc.), it shouldn't take long, right?" That common statement is what spurred my thinking about the process of writing and how it is so similar to design and event planning. There is a deliberate process and specific reasons for every step of the way. Of course, we can all pull off miracles, but as professionals, we know that the process is integral in creating quality results that live on in memories long past the event. When the process gets cut, details are missed and mistakes happen.

Just like event planning, great writing is found in the details, and I am not just referring to punctuation and grammar.

The rough draft is where creativity comes into play.

For writers this means getting everything on paper without correction, content rearrangement or refinement. For planners and designers, you don't worry about whether everything fits within budget, you just "paint" the full vision and begin to breathe life into the concept. There is a reason it is called "rough." The goal is to ensure that you've included everything the client has asked you to provide. Ditto for writers. This step is collaborative, creative and necessary for a good foundation.

For all of us, there are usually multiple drafts as we continue to fill in detail, include more elements, and flesh out the story. As I write this, I'm on version 5. Having been an event planner for almost 20 years, I know your process is similar. It has been said that doubt is a huge part of the creative process, and this step is where it is strongest. When we ask for content and concept approval, what we are looking at is the big picture rather than punctuation or the composition of the linens and floral. Being too literal in this stage slows down the process.

Revising to refine the big picture.

When you get the client's sign off on direction and content, it is time for revision. This stage is not about which specific flowers go in the flower arrangement; it is about the overall design or plan for the event.

Revising your writing is done from the bird's eye view - adding content, rearranging sentences, and removing ideas that don't work. Getting bogged down in the specific words and event details is unwarranted as the entire paragraph or element may get taken out in the next phase. Revising, editing and proofing are very distinctive steps!

Magic is in the details.

Finished revising? Now it's time to edit the details. What flowers are in the arrangements? Does the silver metallic thread running through the linens work? For a writer, details mean focusing on word usage and sentence structure. We purposely pay attention to spelling, style and convention, sentence clarity, repetitive use of words, tense, grammar and punctuation, refining emotions and making sentences more powerful.This is where we hone the writing or event to perfection and check and recheck every last detail. We quality check by sending out to a proofreader. The same should apply to events and design. Have someone else look things over. They may see holes or details that you overlooked completely. Details are the magical difference between success and failure - for all of us.

Let the writer's process guide you to a great end result.

Consider the writer as part of your team and brainstorm with her. Give the writer more information than you think she will need. Give her the gift of time to craft something that contributes to the experience of the event.

A great writer brings much creativity to the table. Not just in written words, but in how to take your event over the top and deliver a standing ovation.

Imagine this: The room looks amazing: the lighting is perfect, the decor flawless. You feel the excitement from the buzz of the audience. You know this event will go down as one of your best. Why? We followed the process.

Together, we took good ideas and made them better. Together, we made sure the details were right and that we met the client's goals. By working side-by-side - from inspiration to execution - we built a memorable experience that is emotional, captures imagination and spurs the audience to action.

Collaboration and honoring the process are the bottom line for creating a profoundly emotional experience and delivering it perfectly.

Ruth Moyte is the Owner of Red Dandelion Creative based in Temecula, California.  She has worked in the event industry for over 20 years on both the creative and production side of events. She is an award-winning event planner, creative writer and speaker. To learn more about Red Dandelion Creative, visit www.reddandelioncreative.com.  You may reach Ruth via ruth@reddandelioncreative.com.

You Are Too Expensive ... The Sequel

I have had some amazing reaction to my post entitled "You Are Too Expensive." From Facebook to LinkedIn to Twitter, thousands have linked to this article. We all seem to have the same challenges, don't we? Well, then, let's expand on those challenges and possible solutions. Because every time I think I've conquered the "how to" of responses, a new one gets issued.

The Catch 22 Ploy

These particular client ploys fall into the "Catch 22" category. You know, the ones where they say:

• "If you do this for $$$$ (always less), I see a bright future for our relationship because I have a lot of business I can throw your way."
• "Do you know who'll be at this event? It can mean a lot of future business for you."

Be honest here, my friends. How often have those two scenarios worked out? If you do it for "less" for one person, he or she will expect all future events for less as well, as will those wonderful people you'll meet. Last words: "Well, you did it for me for that amount of money last time." Am I right or not?

The Solution

So, draw your line in the sand politely and firmly. Recently, I heard both of those lines from a client who happened to be a performer. So I asked him nicely, "When a producer asked you to perform on stage for scale (minimum) and promised you that when he opened his next show on Broadway you'd be the lead if you acquiesced this one time, did it ever happen?" He replied, "No," which then gave me the invitation to offer the following: "I evaluate every project individually and cost it fairly, not based on the past or promises of the future which may or may not happen." I also pointed out that my most long-term clients never dangle a carrot in front of me. Instead they valued what I did for them as being fair and being delivered the best it could be; and then hired me again for just those reasons.

 I am sure you can come up with responses based upon who your client is. I always find it advisable to know their industry so completely that I can draw upon analogies or "stories" that are convincing and believable. The point is I won't give in and neither should you.

Many years ago I started using the justification that events were challenging. It's not a matter of what could go wrong; something almost always goes wrong. BUT it's what you do when it does that defines the level of professionalism clients need in an event agency. In other words, "Who do you want to be in the trenches with?"

So, once again, you are worth what you are asking and don't need to cave when challenged about your pricing. And please don't talk yourself into a corner. If someone tries to cost you out of a well-deserved project, just keep quiet and say NOTHING. You will win that way. It's the old used car salesman trick, but it's a valid tip. He (or she) who holds their tongue also holds the power.

Be powerful. Good luck!


Andrea Michaels is the founder and president of Extraordinary Events, an international meeting and event planning and production firm. Learn more about Extraordinary Events via www.extraordinaryevents.netwww.extraordinaryevents.net. You may reach Andrea via amichaels@extraordinaryevents.net Check out her book, Reflections of a Successful Wallflower –Lessons in Business; Lessons in Life, that has been praised as the “Bible” of the event industry.

When Under Attack, Fall Back

Recently I read the following article by Douglas Kolker and thought it so fabulous that I wanted to share it with everyone. Douglas graciously agreed, so enjoy his wisdom. -Andrea Michaels

When Under Attack, Fall Back
-By Douglas Kolker

Has this ever happened to you? You're in the middle of a discussion with a prospect, and suddenly you're caught flat-footed by what seems like an attack.

Maybe the prospect says, "You obviously don't know a whole lot about our industry." Or: "This presentation has no relevance to what you and I talked about." Or maybe you pick up a sudden, distinctly negative body language signal, like the prospect shaking his head slowly back and forth.

And then what happens? You fight back. Without much thought, and driven by barely suppressed emotion, you react immediately.

Perhaps you say, "On the contrary, I did a lot of in-depth research on your industry." Or: "Actually, I took very detailed notes during our previous conversation, and this presentation is based exclusively on those notes. Here, I can show you." Or: "What's that supposed to mean?"

These are all emotional reactions. No matter how "right" you may happen to be in your instant rebuttal, it's a good bet that you will lose the sale, and damage the relationship by reacting this way.

So here's the question. What's really happening here?

In order to understand that, you need to understand that people operate out of three Ego States: a nurturing or critical Parent, a detached Adult, and an emotional Child. This is how we are wired. When your prospect made that comment or sent that negative body language signal, he was, in all likelihood, responding from the Child Ego State.

While it's important to avoid triggering negative Child responses from your prospects, it's even more important to suppress your own Child reactions to the things your prospects say or do!

The next time you get this kind of feedback from a prospect, step back and make a conscious effort to leave your own Child out of the discussion. When you are under attack, fall back!

The best way to do this is simply to take a deep breath and remind yourself that, while it is normal to wonder what you did "wrong," or ask yourself "What's wrong with me?" a far more constructive question to ask is, "What's wrong with the prospect?"

By focusing on the prospect, rather than reacting from your own Child Ego State, you can comment or ask questions from an Adult or Nurturing Parent position. This allows you to explore the motivation for the prospect's action. For instance:

"Bill, what is it that I've said that makes you doubt my research?"

"Mary, what is it specifically about my presentation that isn't working for you?'

Or simply: "Tom, I suspect that whatever it is I've presented thus far is not what you were hoping for." (Then stop talking.)

By making a conscious choice to leave your Child out of the discussion,  you can re-engage, reassess, and reclaim momentum in the discussion. You'll identify what really triggered the negative response. You'll stand a much better chance of sustaining a positive business relationship with this person... and, eventually, closing the deal.

This article was originally published in SandlerBrief, a monthly e-newsletter provided by the Sandler Training network of trainers. For more information on Sandler Training, contact Douglas Kolker via dkolker@sandler.com or visit  www.douglaskolker.sandler.com

©2014 Sandler Systems, Inc. All rights reserved. No portion of this article may be reprinted or used without the express written permission of Sandler Systems, Inc. 

To learn more about Extraordinary Events, contact amichaels@extraordinaryevents.net or visit www.extraordinaryevents.net.

Losing the Sale ... The True Business Marketing Opportunity

"You can't win them all" is sage advice when you're giving it and not receiving it, right? So what happens to you when you've lost a sale? Having lost more than my fair share (and won more than my fair share, by the way), I've run the gamut of emotional responses. Having learned some lessons along this journey if I can save you some grief, allow me to do so.

Years ago a repeat client of mine asked me to provide a proposal for a much coveted project. I never knew it was a bid situation ... silly me; I didn't ask. (Lesson One: ALWAYS "ask"). My client informed me that he had decided ... yes, you have heard this, too, haven't you? ... to go in another direction. Translated: you didn't win this piece of business. My reaction? I went into mourning. Life came to a  halt as I repeatedly questioned myself with "what did I do wrong? or "what could I have done better? Those questions haunted me for days, and they would have haunted me a lot longer had I not had an eye-opening conversation with my friend, John Wood.

When I told John about my great loss, his response was (in a nutshell), "move on. Don't dwell on this job or you'll just be exuding negative energy. Put your time and effort into finding a great new client and a fabulous new project." He told me this because that's what HE did. He closed one door in order to open new ones.

There are so many politics (personal and professional) involved when bidding on a job. Like a good suit, sometimes it's just finding the right fit. Or like a good meal, the right recipe. It's not that yours is bad; it's just that another one fits the bill better at that time.

Okay, that's all very philosophical. But what are practical and action steps? You just received THE CALL ... or email ... or in today's world, rejection by text. Oh, the dreaded rejection. Do you just accept it? Well, don't.

So, How Do You Deal with It?

1. Find out if that door is really slammed shut. Has a contract been signed with another company? If not, ASK for the business and sell yourself by being the consummate professional you are. Ask probing questions and look for the needs of your potential client and then offer specific answers to those needs. NEVER undermine a competitor, just state your value and your commitment to being a team player who sincerely wants their business and believes you are the best fit. Sometimes this will salvage a project; other times it won't.

2. Okay, the door IS definitely slammed. Do you forget about this project? NEVER! But you don't spend time mourning. You throw your hat in the ring for the next time with them, and then you move on, putting all your positive energy into new clients and new projects.

3. At this point I can hear the "easily said, but not easily done," because your ego and your wallet are at stake. Look at it this way. Put away thoughts of the client who didn't value your offer and put all of  your energy into the client who will. Look at it this way; you are no longer wasting the time that can be put toward finding someone who appreciates your talent and skills. That's a true positive, isn't it? It is the ultimate opportunity. One client has actually opened up the door for you to spend time with another that you might have missed had you not been rejected.

4. A lesson in perseverance. Thank you, Janet Elkins of EventWorks. When she was receiving an award for an event she created and produced for a Chinese client, she told me that she had called him only to be told that the bid for the project was no longer open but if she was ever "in the area" she should call on him for the future. Janet didn't take that as a no, so she and her team flew to Hong Kong to meet the client and present their capabilities. The client re-opened the door, and ultimately Janet and her company were awarded the business, did an amazing job, and now have a long-standing relationship.

I learned from that, and when the opportunity for a major project came up I invested time and money to fly half-way across the world to show my level of commitment to a project that I coveted. It went a long way to ultimately winning a major piece of business for me. Again, Janet, thank you. I am never too old to learn.

So, my friends, in all of this, what is the lesson? It's all in how you look at things ... it's attitude ... the choice is always yours to make. Sometimes detours make the best sightseeing.

Andrea Michaels is the founder/President of multiple award-winning Extraordinary Events and the author of Reflections of a Successful Wallflower –Lessons in Business; Lessons in Life. To learn more about her and her company, visit http://www.extraordinaryevents.net. Andrea may be reached via amichaels@extraordinaryevents.net.

Creating Valuable Entertainment in Today's Market

In a world where events are no longer held for the sake of "having an event" and event planners are under increasing pressure to justify any and all budget expenditures, it is only fair to ask "what is the value of entertainment to today's events?" The answer is a resounding - IT DEPENDS!

Entertainment as an industry is far too diverse to be painted with such a wide brush, and like any other service or commodity, the value of particular items rise and fall to meet the demands of their audience. In order to answer the question, it might be helpful to break down the answer to the question in the different categories of entertainment.

The definition of value is "the regard that something is held to deserve; the importance, worth, or usefulness of something." As an entertainment producer for the special events industry for over 30 years, I've always felt that there are four value propositions that an entertainer of any kind can bring to an event.

1. Generate Your Own Audience:  The most valuable entertainers are performers that are capable of drawing guests to an event. Examples of these kind of entertainers would include headline entertainment (Maroon 5, The Rolling Stones, the Dave Matthews Band), or popular stage shows (Cirque du Soleil or Blue Man Group), or cultural stars (the winner of America's Got Talent or  someone like the US Airways pilot that successfully landed the jet in the Hudson River.)

2. Be Memorable: Remember the first time you saw waiters that began singing in the audience, or the first time you saw a woman dressed in a gown that held champagne glasses, or the first time you saw an aerialist hanging suspended from a huge inflatable balloon? These entertainers justify their value by creating a buzz that continues well after the event.

3. Focus Attention: Much has been written about the shortening of audience attention spans. However, successful event professionals overcome that obstacle by creating short moments requesting the audience's attention, and in the process, getting the audience to turn their heads in the direction predetermined by the planner. This is especially true at the beginning of business meetings and during award ceremonies, where an audience may be engaged in conversation and the planners wants everyone focused on the stage. Entertainers that have honed their presentation into 4-6 minutes of high impact shows continue to demonstrate value in the market.

4. Interact with the Audience: Entertainers who interact with their audiences have a much greater value than static performers. The old standbys like caricaturists, fortune tellers, and strolling magicians continue to find steady work, while a new generation of interactive entertainment includes I-Pad caricaturists and hi-tech photo booths that allow you to post your photos directly to a social media outlet.

In addition, Andrea Michaels reminded me of a further consideration. "When I coined the word edutainment," she said, "it was because I believe that every educational experience can also be entertaining. Edutainment is entertainment that educates in a way that an educator cannot. If you look at the definition of entertainment, it means far more than a song and dance group. It can also mean creating emotional connections. For instance, some of the experiences Paul created for The Special Event openings take obstacles and challenges and make them meaningful (while being humorous). This also creates 'connection' from performer to audience and then from one audience member to another, creating a sense of community. The very best speakers are truly 'entertainers' while they give information because they make themselves into performers and not just talking heads. Whatever it takes to get the information across, or the brand experienced in an unforgettable way is NOT dispensable."

Endangered Entertainment

There are plenty of examples of entertainment that do not fit these value propositions, and these are the acts that are in danger of becoming extinct. For example, the ubiquitous three-to-four piece  jazz group for cocktails and dinner (that can be easily replaced by an I-pod) or a run-of-the-mill variety dance band that only knows 80 songs (easily replaced by DJs that can offer 7,000 songs) are types of entertainers having trouble finding work in today's market.

So if the question is "does entertainment have value in today's event market?" the answer is now more than ever! Of course, that assumes that event planners identify the "value" they are looking for, and that they put the entertainment in the best possible opportunity to succeed. But that's another conversation.

Paul Creighton is Executive Vice President of T. Skorman Productions, Inc. based in Orlando, Florida. He has worked for the past 35 years in the entertainment business, both on-stage and in front of the stage. To learn more about T. Skorman Productions, visit www.tskorman.com. You may reach Paul via paul@tskorman.com.

Learn more about Andrea Michaels and Extraordinary Events at extrordinaryevents.net.
Check out Andrea's book, Reflections of a Successful Wallflower, by visiting 

https://www.amazon.com/author/andreamichaels.  

You may reach Andrea via amichaels@extraordinaryevents.net.