We had a great lecture at Arcada. Online appearance is a topic that’s relevant to everyone – no matter what role you are in. I have recently had a lot to do with this subject. Not only because my new book deals with online appearance and its relation to SEO (search engine optimization) quite comprehensively.
It is valuable for the non-fiction writer to try out his methods in front of a live audience. A lot happens in those situations and in their interaction. Something that you find out later. The content and structure of by books tend to change as it is completed. I usually do one to five public lectures before I start packing the final script for proofreading and edit. This lecture on the online appearance was the last one of these.
I cannot help myself, but attach an excerpt from my upcoming The Essence of the Music Business book. Let’s see how its content going to change or if it will remain so.
‘The SEO-foundation of the artist is internal and its purpose is slightly different than normal. It is about narrative logic and order of presentation. Usually the artist is searched for by name. It matters to the artist what is offered when the artist’s name is entered into the search. For example, when a record company does Google search for interest in an artist, it gets a lot of information about the artist’s career. If it comes first for an interview with a local newspaper, the company will know the artist is just beginning their career. If hits concern national or even international achievements, like for example tours, the situation is different. With this kind of information, the record company can estimate the amount of work they have on the artist – in relation to the support the company provides. Of course, the artist wants the best possible outcome before seriously considering the meeting. It is quite certain that the contract is more likely, the better the artist will perform here. An artist promotion in such a situation does not burden the company in the same way as it can be when the artist is in the very beginning. Since this book deals with artist management, the same principle applies to managers. The farther the artist has gone on his or her own, the easier it will be to become interested as a manager’.