Thanks for the thorough explanation of your process, I can see why
having such a process in place would increase apparent professionalism.

Also it offers protections legally, with the emphasis on a properly signed
contract, and a deposit.

Which raises a question, has/would your company take legal action for
non payment?

Of course this depends on the individual performer, and the amount owed,
but worth considering ahead of time what you would do for non compliance
with the contract.

Good question and let me add a couple of insights. While being entertainment business owners and operators at some point we all face a bad check or a non-payment issue. We each should have a collection process in place to attempt to collect, but we must all face it when nothing has worked and we must either file a claim in court to pursue a collection ruling or decide to not pursue it and just write it off as a loss and move on.

I have done both. Every time I have threatened legal action or actually filed to sue we have always won due to the signed contract. Many will feel the cost of the amount owed may only be minimal and it would cost more to pursue it legally. This is a decision we each have to make for ourselves and our businesses. It may also depend on the amount we are talking about. If you are a kids performer doing a booking for $250 or a corporate performer getting $1,500 per booking. This may make a difference.

But...

I have worked with literally hundreds of performers and entertainment venues with this issue. I have found that having a legal appearing/sounding contract, rider/performance instructions, invoice, and other confirmation documents (as offered above) makes most realize we are a professional business and use legal documents, and would likely pursue legal action in the event of default. Our paperwork implies this level of professionalism which I believe causes them to take this more seriously and therefore are much less likely to default.

I know some performers that tell me they want their confirmation documents to be more casual, less formal, and less legal looking/sounding as not to scare them (the prospect) off. So they in turn just use a one-page general type confirmation letter signed only by the performer saying I accept your booking on this date and time for the amount of $______, and then perhaps another sentence or two. I hear this more with kids performers and senior performers.

I have found this more casual, less formal/legal appearing documentation creates non-payment and non-compliance issues much more often. I believe they do not take you as professionally or "serious" as they seem to accept more formal materials. I think this really makes a difference and could invite problems due to its less formal nature.

In reality today we accept far less checks than in previous years. Most pay by a card or maybe a business check if a company or corporate event. So the non-payment issue seems to happen less. One way to curtail non-payment issue is to simply have a deposit to be paid upon booking and the balance due in full 7 days before the event. This way payments have been taken care of and all you have to worry about is doing the best show possible.

But the point was having professional, more legal appearing materials and a process curtail many of the problems I see so many other magicians and performers complaining about. We haven't had a non-payment of non-compliance of the terms of the agreement issue in probably 20 or 25 years. Many of the performers I coach or consult have virtually eliminated all of these types of problems as well. This is important in our business operations.

I hear kids performers say all the time that formal documents or processes aren't necessary or that they intimidate the prospects, which I personally have a problem with. It really isn't so because it is simply standard industry operational procedures. When you adapt it it becomes the same for you. I would rather it appear more professional than worry about it being intimidating. I have also found those that would have a problem with the professional documentation are those likely to be a concern to default.

Again, we must each do what is best for us and our business. The main concern is to operate from an industry position rather than a me-perspective. Almost everyone I see having problems with these more professional documentations almost always are operating from a me-perspective. This is what they prefer, but not the industry preference or standard.

Since so many people of today's under-40 generation are so me-based, we can not leave this up to them or to interpretation. The more formal approach becomes more about the way you do (expect) business of which they must comply.

So we must also take control of our operation and demonstrate this is how it is done if they choose to use your services. Because they want the best for their event, it is rarely an issue at all. By presenting it this way it now becomes part of their expectations of working with you and they are comfortable with it.

Because we do these things to curtail this we have eliminated this from our businesses with perhaps only rare exception.

Thanks mindpro, your thinking makes sense on the matter, I'll
probably adjust how I do things.

Don't tell anyone, but I personally wouldn't bother with going to court,
it would be more time and trouble than it's worth, but they don't need to know that.

Yeah I understand. It also depends on the amount owed. It may not be worth it for a few hundred dollars but my last one was for a run of shows totaling $12,000. This was well worth it to me.

If it was $12000 I'd sue to.

Thank you for the many aspects, thoughts, and advice shared. Though much is outlined for the magical arts performer, I gather that much of what you have offered is quite beneficial for other types of entertainment business models also.
Thank you again.

Yes, much of this can be for magicians and magical performers, but it has also been used for musicians, bands, singers, and most types of specialty or variety artists. I have personally used this for:

Magicians (all types and levels)
Mentalists
Hypnotists
Jugglers
Clowns
Puppeteers
Ventriloquists
Comedians
Improv Troups
Disc Jockeys
Karaoke Performers/Hosts
Solo, Duo Musical Performers
Musical Trios/Combos
One Man Band
Kids Musical Entertainers
Game Host Entertainers
Master of Ceremonies
Speakers
Caricature Artists
Face Painters
Storytellers
Psychics
Readers - Tarot, Palmistry, Handwriting, etc.
Game Shows
Carnival Games
Carnival/Circus Acts
Yo-Yo Artists
Animal Acts
Kids Amusement Rides
Inflatables/Jumps Business
Quick-Change Artists
Costume Characters
Celebrity Lookalikes
Senior Performers/Shows
Stripper-grams
Models/Modeling/Promo Models
Celebrity Appearances
Murder Mysteries
Virtual/Augmented Reality Games
Team Building Games/Activities


Since it has all been created from an industry position and industry standards you can see it is quite applicable to most types of performers, entertainment businesses, agencies, productions, etc.

Thanks for the kind words, much appreciated.

Update: Okay, I have been getting an increased amount of questions and followups to this thread over the past weeks/months. It seems to me many have taken the time to digest the great amount of information I have offered here and have been working hard to implement the contents into their operation/business. For a lot of you, as I always mention will happen, you have had to go back and change, readjust, or as quite a few have mentioned to me, completely started over beginning with the Foundational aspects I have included throughout this thread (and other past threads where this has come up.)

While this thread was intended to assist Tajrung, it was very quickly realized that many were following it with great interest to improve their education and application to their entertainment business.

First, this is great to hear as it WILL make noticeably improved results and forward movement in your business. For some it happened almost immediately of which I am proud for you, but also promised you it likely would if applied as presented and in the right sequential order.

I have had several of you inquire about coaching on all of this to expedite the changes and speed up the results and process. Yes, coaching will do that for sure, but as I stated earlier that my coaching was not what this was all about (otherwise I wouldn't have offered so much info here for free) so I am not accepting any new students as part of this thread. A couple of you had expressed interest before this thread which I had allowed you to be put on my waiting list to apply when the next opening(s) become available.

However, now that much of this information specific to entertainment business has had a chance to sink in, there have been some additional, follow-up, or next step questions that have come in which I would like to add here as part of the progression of both this thread and the entertainment business and operations of those committing so much effort to implementing the information I have shared here.

Here is a message I had received. Several other similar topic messages also inquired about this as well, so I will start with this one.

Mindpro, first thanks for all of the great detailed insight you have provided in the How Do I thread in Tricky Business. Initially it had my head spinning but after going back and re-reading it all a second time and again a third, this time taking specific notes, it all not only made complete sense to me but also motivated me to go back and restructure my entire business operation from the beginning with the foundational work you said was so important and needed, yet missing from most performers' businesses.

My first question is about value and positioning. You mentioned both of these in this thread and in others. Can you explain more about these and their differences? I keep thinking about value and am struggling to find any value that I can offer to others or any value that is any different than any other magicians or mentalists I may be competing against..."

Since several people inquired about these topics I will begin here. Since it is a two-part question (value and positioning) I will address each seperately beginning with value.

When we were addressing professionalism I mentioned that regardless how you see yourself/your business, once you are performing for pay others (prospects, clients, customers, agents, event planners, etc.) all see you as a professional. As someone with specialized knowledge, skills, and abilities. It doesn't mater if you see yourself as just a part-timer, or "semi-professional" (which in reality doesn't exist), others see you as a professional and therefore have professional expectations. This may be heavy or intimidating to some initially, but in reality opens the door to opportunity.

They are seeing you as a professional, someone with specialized knowledge, an authority. They are coming to you for information (first) and if all goes well action second (booking your services.) So even before you say a word or anything happens, once you as the performer and entertainment business owner first realize this perception and understanding, you should also realize this alone starts to create value. You, to them, are a specialized authority on your type of entertainment and everything that accompanies that (what to know, the differences in types of magic/entertainment, the proper expectations, how to book, etc.) So this is the first step to value is to realize the position this offers to the prospect/client.

Next, is the aspect of what you do or offer that is specialized, different or unique from anyone else? You must see this through their eyes, not yours (no me-based thinking or mentality here). This does several things - specialization or uniqueness creates and adds value AND separates you from the others (positioning) that do not have or offer these things. It may not seem like value to you, but it does to others. Along with special and unique, and even more important is anything that is proprietary to you.

Years ago when I first started I realized this while driving home from a gig (I have discussed this in my live trainings and several of my books) I started to think of what I offered that no one else did. If I had such things I wrote them down. For example, I was the only hypnotist in America at the time that had an onstage female assistant. Nothing great but it was unique. Magician's have had onstage assistants, but at the time no hypnotists did. Audiences loved her so I used that knowledge to create value by identifying it and using it in my promotion of the show, in my one-sheet (long before websites or internet) and promotional materials. I had a public office and demonstration showroom where prospects could come in and meet with a booking rep, discuss specifics about their event, and see and experience our professionalism in person. Again, no one else had an office or storefront, so it created these unique things that in their minds positioned me different and apparently better than the others. We were legit, professional, more serious, (which also can translate to worth more - value.) But more importantly it caused me to create some things exclusive to me. In the end I came up with twenty of these unique things that were exclusive to me. To this day it is one aspect that separates me from others (including the competition)and adds value and perceived value to my clients and new prospects. It also allowed me to have premium pricing within my market, and of course no one else could touch us or even come close to us because of these things.

These are just a couple of examples that can create value. What do you do or offer that others don't? Why is it important? How does it affect them and their event? What are the benefits of having each of these things?

Put in the time and effort to think about these things that can create value and perceived value. If you can't come up with anything, then your next step is easily identified - you must create some things for both your performance and business than can create such uniqueness and value.

Now here is the very important and crucial point to all of this. ONCE YOU HAVE THESE THINGS YOU MUST KNOW HOW TO COMMUNICATE THESE TO YOUR PROSPECTS AND CUSTOMERS!

These things must be the key components to your Sales Performance/Presentation. You must take the time to properly educate them, to explain this to them including all of the hows and whys to support it. It really becomes both easy and fun. It is the part you WANT to get to. You can often see it in their eyes when they hear these things and begin to process them. You see the light bulb go off over their heads, you may see the smile or excitement on their face, you can see them thinking how it pertains to them, their planning process, their event, and even their guests/audiences. The communication and education is the crucial component to establishing value. You can NOT just think they will get it or understand it on their own. They will not. You must break in down for them in easy to digest and understand small bites. The results will be amazing when done properly and in the right place in your Sales Performance/Presentation.

These are many other components that can create value as well but hopefully these are enough to get you started and thinking along the right lines.

As you can see, just like all of the other elements I have discussed, it all works together in concert and perfect business harmony to lift and support your overall offerings and the presentation you are providing. It is really a thing of beauty.

I will continue and get more into positioning here soon.

Interesting, so you see the start of establishing value as unique selling points?
That raises a question if you don't mind me asking, how do you translate from it
being unique, to actually being valuable to someone else?

For example, you mentioned you had a female assistant, your daughter I believe you
mentioned before, how did you find that brought value to someone booking you?

Some things are done because they are of value to your client, some are done because they are of value to you, some both.

No, I really see the start of establishing value with "professionalism" in both your show and in your business. To me this is the true first step. The unique selling points are just one of many other possible things that can also be part of value. In reality there are many things than can be part of value.

As Danny said you must remember there are different kinds of value, often at work at once, such as value to you, value to others, value within the industry, value to the client, value to the audience, the booker, buyer, and so on. Rarely is value just one thing. These are all part of value.

You don't just think of something that you call value, it must have or be able to create value. Since the value is most improtant to the client (and also the industry) it is important that these are the set of eyes you see value as.

Yes, my female assistant was my adult daughter. We used her in a way to create both value AND positioning. We didn't just approach it as I was the only stage hypnotist with an assistant, as that would have been seen as "that's nice, so what?" However, what we did was use this as positioning. It allowed us to position our show as a (full) production, rather than just a hypnotist as with most hypnotists. They are one guy (or gal) doing their show. It allowed us to position our show as a "production" with multiple cast members, costumes, specific feature segments within the performance, and it all carried over through the meet-and-greet with photos and autographs after the show. Most single person hypnotist didn't have or offer anything like this. It was billed and promoted as a full production, complete with full music scoring and soundtrack, multi-media components, and of course merchandising before and after the show. In some theater venues we even had two acts with an intermission. All of this gave it the appearance, feeling and dynamic of a full production stage show, rather than just a single guy hypnotist. So not only did it position us separately than any other hypnosis show, it created greater value in the eyes of prospects, customers, clients, venues, and also within the actual markets we specialized in. It allowed us to literally charge more than double the price of most other hypnotists. They felt they were getting a full production, the audience felt they were getting an experience, and the industry had a very unique offering.

More than that, since most of our shows were in schools, fairs, festivals and theaters, we also used it to promote and appeal to young girls and the message that they can be self-empowered and be part of a male dominated profession. We had much larger female interest and audiences. Administrators felt that we/she offered a very powerful and inspiring message to their young female audiences.

Now mind you this one only one small thing that we did and used as part of our positioning. Many of the things we used no other performer could ever offer, only us. People soon began to know us as these things and would gladly pay our premium price to offer so much more than other hypnotists in the market or that they had ever seen.

Now mind you we had 20 of these things, that when combined, made us so unique, so newsworthy, and eventually so in demand that we eventually ceased all marketing as we created a system that made us self sustaining, doubling the amount of shows and booking interest each year until we couldn't handle any more. Then we just maintained. We were recognized within the industries of the markets we served, so all we had to do then was maintain our status (which very few people/books/courses ever talk about.)

So yes, we created value for those booking us, but more so they put that value on us themselves which was even better. We also eventually offered a very unique pricing structure and other options as well.

Since my last post in response to Fedora's questions mentioned positioning and this topic was one that I wanted to get back to, I will address this more.

I believe a big part of success in a business is how a business is positioned. There are many positioning strategies, most are designed to create a certain perception to the public, their prospects, customers, clients and audiences. While positioning can include branding, I don't want to get caught up too much in branding as branding can exist without positioning.

Positioning is where you want your business positioned within your market, both geographic markets as well as performance market. As mentioned above positioning can also be a value component.

I cover positioning pretty seriously in the Foundational creation of your entertainment business. I do this because positioning can happen either as you desire, calculate, and predetermine, or it can be done without your efforts by your market, customers and reputation. At that point it is determined for you and often not too favorably.

I would always prefer and suggest this be a component that is exactly as you desire and that you have control of beginning very specifically in your Foundational level. Positioning will become part of your business reputation. So this first brings us to the question of "how do you want your entertainment business to be seen or positioned to the public and to your market(s)?

This should be given some serious considerations BEFORE beginning your business as it will determine how you proceed and so many things you will be working towards.

I will give you another example from one of my own entertainment businesses. In the 1970s my first entertainment agency (which was a full-service agency) as I have mentioned previously was created to represent my own act and some others I promoted, booked, and represented simultaneously. Well, in the music world there was a major shake up in the mid-late 1970s. Beginning in '75, and more so in 76, 77, and '78 disco became very popular (think the Bee Gees, Donna Summer, Saturday Night Fever, and all of the related independent artists and producers) both on the record charts (Billboard, Cashbox, etc.) on the radio and in nightclubs. This boom in the trend of disco made a lot of the clubs that had currently used bands as its live entertainment, switch over to DJs spinning records. From the club’s perspective they had been paying bands $1,000-$1,500 a week for 3 or 4 sets (40/20) a night, dealing with the bands many members (4-12) and their attitudes, egos, etc. When disco hit many dropped the bands and hired a DJ for $300 a week, far less egos, continuous music (no breaks as with bands), and of course enjoyed being part of the most popular trend of the day. They were saving money on entertainment, serving the new trend, and enjoying greater audiences. It also allowed them to do additional customer-generating things like disco dance lessons and dance competitions. It was a great revenue generator for less cost than previously having live entertainment from bands, singers, and such. This changed the industry in many ways of which its impact can still be felt.

This put many bands out of work. Many of the band members that owned their P.A. system even jumped on the bandwagon and bought a couple of turntables and started being DJs themselves as at even the rate of $300 a week they were earning more than their split of the $1,000-$1,500 they earned in the band. So this is how and when the DJ boom began.

So of course being a full-service agency we had to be on top of this. So we started a DJ division within our agency (which would later become so popular and profitable that it spun-off into its own specialty agency.) When we first added DJs to our representation roster we were, just like everyone else, charging $300-$350 a week. But when we decided to spin-off our DJ division into its own agency we decided that we wanted to be a premium agency. This was decided before making the move to the spin-off specialty agency and was 100% by designed to be premium and above other DJs in every way. We wanted to offer top of the market service, only the best talent/DJs, serving only the best and most serious clubs and venues, which also meant being the highest-priced. So when we were in the Foundational process of developing that agency, we went through the entire Foundational process questions and exercises as I have shared in these pages and in my trainings, coaching, and consulting. We created our unique value and positioning elements, image, branding and marketing. Of course this was long before websites and the internet (mid-late 70s) so we hit like a tornado. It (we) leaked it out within the industry and our local market, and soon there was a buzz and venues were contacting us before we officially launched. We put these inquiries on a VIP list and they were contacted one week before we went public.

Now we knew we wouldn't be for everyone (by design) as our opening weekly rate was $1,250!, more than 3 times what most clubs were spending or willing to pay for DJ entertainment. Back then in the beginning DJs were seen to many as only "guys playing records" and with not much value, skill or talent. We intentionally and deliberately set out to change that and eventually pioneer many things that have become the DJ industry and mobile DJ industry today.

Knowing we weren't for everyone (by design) it was much to our surprise that every single venue on our advanced VIP list booked our services. We had a minimum one-year contract which they all gladly accepted. We launched a week later and we enjoyed great demand. So much so that we couldn't keep up with the amount of talent needed so we then also opened a DJ training center where we trained every DJ in-house to our high (premium) standards and qualifications. That agency became a major success and our first specialty agency. Again, like in my own hypnosis show, no one anywhere in the U.S. (even though we were just local) could do or offer what we did. We created and served a premium-level host of venues. We created a promotional team that allowed us, along with our special format, training, and unique music programming, to handle all of the live entertainment promotions within our venues. So in so many ways were getting faaaar more than "just a guy playing records," we were live entertainers that combined entertainment, personality, and spinning a unique format and playlist for a premium price. The price was easily justified by the services we provided, the increase in audiences, and F/B sales, plus the major high-profile promotions, and in many of these venues, cover charges.

The specific, predetermined positioning made all of this possible. It also created such value that to that level of venue that it really sold itself. It was such a thing of beauty.

So this is how you can see both the differences of value and positioning, and how positioning can be part of value in many ways. We have since done this exact same thing in every entertainment business I've owned and with many that I coach, train, consult, and mentor.

Wow,,,what a great read Mindpro. Thanks for putting your time and effort into this great post. Makes a lot of sense.

My pleasure! I think it is great when we can have some deeper discussions about performing and entertainment business. So many magicians get so hung up on just the basics and surface level that it is rare that we can actually go deeper into entertainment business operations. It is also nice not to have to deal with a bunch of general business and online business junk that needs to be adapted or is non-applcable to entertainment business. Working pros tend to get this, others, newbies or beginners don't.

I also think it is important to be able to speak frank about our business without hand-holding or sugar-coating things as this is how it is in actual business. If one can't handle it maybe this business isn't for them. I know when I was coming up and learning I so badly wanted to learn from any working pro who would give me the time of day and let me pick their brain. This, to me, was priceless and such a rare opportunity.

I also wish there were more pro discussions from the workers here as others can gain a lot by following such posts as well. This is such a great resource that I think is greatly under-appreciated. Many young guys and those 40 and under do not really know how difficult all of this was before having access to pros and workers from such a resource as this. Learning all of this and running an entertainment business is easier with such info more accessible than ever before in history.

History in entertainment business is also important as it is crucial to get a more complete understanding of our industry and business. It also is a great indicator of the future.

Also, younger guys and gals today just do not realize how much bad, terrible, incorrect and blatantly wrong information there is today on the internet and Youtube.

There is so much more to this section rather than just "who do I contact for corporate bookings," etc., or "do you send post cards or emails," etc., or surface-level motivational quotes. It is very fulfilling being able to spend a portion of every day being able to work with and help other performers in their show and their business. There is no need for this to be hard, take years of trying to figure out on your own, struggling, and not knowing what you are doing wrong or that may be creating your own obstacles.

I've always said, even if you don't care for me, you don't have to like me to be able to learn from me (as well as others.) When I hear this I know they get hung up on the delivery and packing of the info presented, not the actual content in the proper context. Some have a hangup which is so unfortunate for them and to the others here that it prevents from sharing.

I do wish performers took this more seriously and actually asked more questions as this is also an ideal resource for this as well. Look at what we did for beginner Tajrung, just by asking some questions.

Great thread Mindpro. A lot to digest here...

Going way back to referrals:

It seems there might be an extra step to that. Do you reach back out to the person who referred you business after a contract/show with the new referent business?

Seems as if looping back after with a thank you gift might do two things. First, it lets them know their efforts made a difference in their referent's world and thanks them for doing so. Second, repetitively sending a gift after each additional event reinforces in them the idea that they can continue to refer to you, essentially training them to send people your way. There is more to this obviously, but I do know of people who've had successful businesses just by properly managing a referral base.

As I have mentioned in previous posts I believe every entertainer should have a specific fundraising program and a referral system in place as part of their business model and operation. My referral system and the similar one I coach and consult others on has many components built into it and yes, following up and awards/rewards and incentives have long been part of it.

One of the reasons a referral system is a must have is, next to your show itself, it is the top way to generate bookings and keep your calendar full. It can also become your primary way of getting warm and hot leads, and both new and return booking shows, thus reducing the amount of marketing and promotion you may need to do.

The more you do it and the longer you have such a system in place, the more your dates will fill up from these and the less prospecting you have to do. We have a formula in place in all of my businesses that after several years of doubling our business each year to a point that we couldn't any longer accept much new business, we eventually were able to eliminate all advertising for these businesses. It got finally to a point that 80%+ of our business came solely from referrals and the only outbound advertising we did was to maintain our status/positioning within or markets and to attempt to keep a 15% flow of new blood (business) into our process. There's much more to this system but the elements you were inquiring about have been part of it, as well as the two benefits you mentioned (and many more.)

Let me clarify the proper thought and context I meant for this. I am referring to any professional entertainer or entertainment business, especially full-time performers/businesses. Of course I wouldn't suggest this necessarily for beginners or extreme part-timers, yet it would be something I suggest they work towards if they choose to progress beyond just a casual performer.

Referrals and return business are two very important components of a successfully operated entertainment business.

It’s been a while since I’ve posted any updates here in this thread, but I have been regularly hearing some feedback from many, all seeming to reference this information in this thread so I thought I’d share an update and a recent message I’ve received, and address a few questions that have come up from several inquiring about some of the same things.

Wow. Just wow?

This could very well be the most valuable information on the internet for magicians and other performers pertaining to operating a performing business. You have offered so many aspects that I would have never known about or ever considered for operating my business.

I have read this entire posting now 4 times taking notes and highlighting everything and actually went back and restarted my entire business over again based on the information you have provided. I remember you saying many will have to do this to do all of this right starting with the proper full foundational level process. So I decided to commit to this and went back, restarted again my nearly 6 year old business, and included everything you have offered here. I do have some questions that have come up that I’d like to ask, but first let me tell how it has gone so far.

It has only been almost 10 months and even though I am still in the process, with what I have done so far just based on the information you have provided in these postings, I have more than doubled the amount of bookings I have received since last March, I have raised my pricing across the board, and am enjoying a whole new level of respect and positioning in my own market. Also and actually the thing I am blown away with the most is now more than 50% of my bookings have come from referrals and the referral program that you suggested that I have started. All of this in only 10 months!

I am elated and happy beyond belief. This really works the way you said it would. This now brings me to my quick questions as I don’t want to take up too much of your time.

While you have provided a lot of information on the foundational level aspect and its importance in setting up your performing business right, you have said often that this is only part of the full foundational process you have shared here. Where can I get the full foundational process information? What else is there that I am missing? I know how well what you have given me here has worked but if there is more that I am missing I am interested to make this even more complete. I want to do it all completely right. Do you have a book on the foundation process?

Since the referral system you suggested I have added to my business is working so well I am interested in learning what “the 5 types of bookings are that you said are a must for any successful entertainment business?” You mentioned these are in your program but are these available anywhere but in your mentoring?

Another thing I am very interested in learning more about is something you hit on quickly without much detail and that is getting press and media for a performing business. How does that work and why do you feel it is important? How does that fit in with what you have mentioned in your posts. You didn’t seem to return or elaborate on this. Is it necessary and how does it fit in with all of this?

I guess I am still working in what you have called “the default business model” that we all start with. You said at some point after you are up and running every performer should start looking at other business models beyond the default one. Where do I find information on this? How many are there? Would I have to start all over again with my business if I progress on to a new business model? How do I decide which one is best for me?

I’m sorry for asking so many questions. It has taken me a couple of months to send this as I am reluctant to ask all of this after all that you have been willing to share already.

I just wanted to thank you so much for the difference you have made in by business and really my life as a result of all of this. It is amazing how this all works and fits together so perfectly and I’ve just started and am only 10 months into it. Running my business is now more exciting than I could have ever imagined. I just wanted to let you know what a difference it has made in my business and that I truly appreciate everything you share on the forum. I look forward to your every post anytime you are willing to share. I seem to learn something from every time you do.


This had been edited down as I have left out his other questions about my coaching, consulting, and trainings, much of the praise he included, and some comments about others here in the Tricky Business forum that he has felt are preventing progress here and why he is reluctant to participate here more often.

Let me address these questions as several others have had the same or similar questions as well.

The problem with completing the full Foundational component to setting up and establishing your entertainment business, is it really is not a just do-it-yourself element you can do on your own by yourself. Because some of the initial answers to the questions and determinations you will need to make are more than meets the eye. You will tend to answer these from a surface level perspective on your own. This is why it is only available for my coaching students or consulting clients. As, along with you, I will guide you to the proper understanding and context of each of these and the proper way to approach each of these questions and determinations. I will provide you context and depth you will not see or obtain on your own.

So, for this reason it is only available as part of my coaching, consulting, and trainings. Now I may have a bit of good news for you. I am considering doing a short 3-month coaching and training program only on this Foundational level process. I am still considering this and haven’t decided on this for sure for a couple of reasons. The entire Foundational level is to properly set up your entertainment business correctly to proceed forward as the result of the Foundational process to drive and steer everything that comes after this. It all works together in perfect harmony. The concern I have is after assisting you (not you personally but all attendees) in helping to create the proper structure and foundation for your entertainment business through this Foundational process, you will then be left on your own to proceed from this and apply this all on your own. I have never done this and am concerned that again without the guidance and assistance of my coaching how others will do on their own? Will it take away the completeness of everything? The crucial part where you take all of the information from the Foundational level to drive literally EVERY OTHER ELEMENT AND THING YOU DO you are then left on your own to figure it all out in application. I do feel some will be set up to do so on their own but my concern is others will still require the guidance and assistance to apply everything. So I really have to consider all of this. I guess I would like to hear from those who might be interested if I do decide to do just the short 3-month Foundational element coaching offering. I am still deciding. So, for right now to answer your question, it is only available through my current coaching and consulting services.

As far as the 5 Types of Bookings, this too is only available as part of my coaching, consulting, and trainings. I do not have any live training events scheduled yet for 2024 due to my crazy schedule. I will put you on my email notification list to be contacted once I have a better idea of the schedule and events. These 5 types really must be properly understood and kept in the right and full context to be 100% effective which I have only been able to assure as part of my trainings and coaching. You noticed the great difference when you added the referral program to your entertainment business, just imagine what will happen once you have all 5 of these different types of bookings working on all cylinders in your business.

Next, is about Press & Media. This is one of the most significant aspects to an entertainment business due to the many benefits it offers. Awareness, targeting, credibility, positioning, marketing and promotion, separating your business form the competition, relationship-building, showcasing, and of course increased bookings and new opportunities. Best of all it is all FREE! I had previously released my Press & Media For Entertainers book which was a special version for the magic/entertainment community, but since it was so successful with both entertainment businesses as well as businesses outside of our community, the book is no longer available as I have expanded (actually doubled the contents) it into a specialized coaching and training program and a course. The results have been staggering. I have heard from performers worldwide that have together used the information to generate over $3,000,000 in free press and media coverage for their entertainment businesses. Some are doing over $10,000 of press and media coverage a month for their business – each and every month. I have often said this I something every entertainment business absolutely, 100% without even a second thought MUST have as part of their business. Here is a previous thread from when I first test-released it to the magic community here: https://www.themagiccafe.com/forums/view......forum=44

As far as moving from the Default Business Model to other business models you must first find what business models are available to you. Unfortunately, you can Google and Youtube until the cows come home and you will not find this information. This is why so many performers, even longtime performers of 30, 40, 50 years or more never learn or even become aware of these. It simply is industry information that is not available anywhere else. You will only get this from seasoned professionals operating from an industry perspective, from a place of experience.

Each of the various models require a deeper (more than surface) understanding to be able to make a proper consideration or decision about them. Again, much of the initial information will be decided in the results you generate from the Foundational component of your business. For example, if you decide you want to be a kid’s birthday party entertainer, you would not implement a business model where you are charging attendees an admission or ticket price of $50.00 each, plus a parking fee, and concessions. The model doesn’t align with the Foundational decisions you have made OR the market(s) you have chosen to specialize in. There are many business models to consider with each needing to first be understood then, aligning them with your Foundational choices and determinations. And no, you typically would not have to start your business over again. What you seek to do is incorporate a business model that takes what you are currently doing to the net level to progress your business, revenue, offerings, exposure, positioning, etc.

I hope this helps everyone still following this thread. I still get many comments on all of this. Please ask any additional questions you may have for clarity or advancement as you proceed and implement some of the things discussed in this thread. While I do enjoy getting emails and PMs, I always think, when possible, it is best to ask here in the forum to allow others to benefit from the content as well demonstrated throughout this thread. Others so far have been very respectful not to interfere or derail the thread or offer opinions or theories to interfere with the teaching and learning so please feel safe to post and participate with your questions or sharing your progress.

Hey Mindpro, you mentioned that some are getting the equivalent of $10000 plus in value
of free press. But how much of that is translating to actual sales?

It is certainly neat to get tv appearances, radio appearances, internet interviews etc.
But how much is that actually helping them?

I assume it matters who you are selling to, but for an example, if someone appears
on the local news, or even GMA or a talk show, it would look good in a promo package.
But is there a lot of value in these appearances past that?

Good post as usual, hope the new course you are considering goes well.

The short answer is that everything translates into booking. When it is in that package they see it helps add value and may clinch a booking you might not ever get. That goes on as long as you keep it happening.

Once you raise your perceived value it is raised for good. So the rewards are ongoing setting up things the way Mindoro suggests. They last a lifetime and are a springboard. Then you are raising your prices from the new perceived value. So they are higher. In reality it all adds up to far more in the end.

He can give the long answer.