Smart Arts - Creative New Zealand
Smart Arts - Creative New Zealand Smart Arts - Creative New Zealand
Beyond the box officeIf you want to sell tickets independent of your box office, consult box-office staff on thebest way to go about it. The box office, venue manager and everyone in your companyshould know about any ticketing schemes. Box-office staff should also know whetherdoor sales are available so they can advise people.It can be a good idea to supplement a fixed-location box office by taking tickets directlyto your target markets (e.g. by setting up a temporary ticket booth in the quadrangle of auniversity). However, if the ticketing system gets too complex you run the risk of doublesellingseats or creating confusion in the market.Be careful with the established ticketing agencies to which you’ve allocated a percentageof tickets for sale. Once they’ve sold their allocated tickets, they will often say the event issold out even though there may be many more seats available at the door. It is a goodidea to do spot checks by ringing them as a potential buyer.The easier it is forpeople to buy ticketsthe bigger youraudience will beBruce Connew3Smart arts | Toi huatau24Buying behaviourTo produce effective communication tools, you need to know your audience. What willcapture their attention? What will hold their interest and what will motivate them toattend your event? This is known as the AIDA principle:Attraction They’re attracted to pick up your image or flyerInterest They’ve read the copy and are interested in what this can offer themDesire They want itAction They purchase it.Building on this principle, remember that your target market needs to hear about yourproduct five or more times before it registers with them. You also need to ensure youdeliver the experience you promise in terms of booking and attending the show. Andfinally, carry out basic research (e.g. surveying, developing a mailing list) to help youattract the same people to future events.
A B C D EThe ultimate aim of promotion is to make a sale. This bell-shaped curve reflects people’sbuying behaviour.At A, which may be six to eight weeks out from the season’s start date, people are at theawareness stage, and have been attracted to the initial promotional material.The inclining slope of B is the stage where people are interested in your show. Here,your promotional material is out on the street more intensively.At C, two weeks out from your opening, your audience is at the stage where they desireto purchase a ticket. Your promotion is heavy and emphasises the need to act now.The downward slope D is when they have their ticket in their possession. There is anotherrise again at E as they approach the date of their attendance. The rise of E may dependon previews, reviews and word-of-mouth.The more people you bring to C – buying a ticket – the better chance you have ofsurviving poor reviews.Your different target markets are likely to be at different places on the curve at any pointin time. For example, the primary target market is likely to peak sooner than thesecondary market.A well-manipulated promotional campaign will plan the advertising and promotionalcampaign around this curve and chart each target market’s path on this curve.You may think that the further out from the season’s start date that you lead people to Cthe better. But before taking this approach, you need to consider how long you cansustain the intensity of promotion needed to achieve a sale at the apex of C.It’s costly to sustain promotion at this level and if the campaign goes on too long yourisk losing your target market’s interest. Once people decide to buy a ticket they respondvery quickly. That’s why promotional material at C should prompt people to act now –perhaps even offering them incentives (see Incentives, page 47) to do so.Be sure your box office is ready to receive bookings as soon as your material goes out.Making the sale3Smart arts | Toi huatau25
- Page 1 and 2: Smart arts: Marketing the arts inNe
- Page 3 and 4: Viewers engage withtext and photogr
- Page 5 and 6: ForewordThe purpose of marketing is
- Page 7 and 8: IntroductionThere must be as many m
- Page 9 and 10: Your marketing strategyidentify 7 P
- Page 11 and 12: 1Planning amarketing strategyThis c
- Page 13 and 14: It’s important to make sure your
- Page 15 and 16: ROUNDFIGURESOffering ticket prices
- Page 17 and 18: SWOT analysisRESPECT 2003at The Dow
- Page 19 and 20: Promoting theevent2How do you promo
- Page 21 and 22: • travel and couriers• thank-yo
- Page 23 and 24: Week 1 (production week)• schedul
- Page 25: 3 Makingthe saleThe overriding aim
- Page 29 and 30: 4Communicatingyour messageThis chap
- Page 31 and 32: RETURNTHEFAVOUROnce you have somesp
- Page 33 and 34: THE EYESHAVE ITFaces and eyes have
- Page 35 and 36: Using graphic imagesIllustrations o
- Page 37 and 38: MÄORIAUDIENCESKnowing your target
- Page 39 and 40: Printed material:from research to d
- Page 41 and 42: Effective advertising ofthe Aucklan
- Page 43 and 44: Can’t stop hip hop …an image th
- Page 45 and 46: A MATTER OFCONFIDENCEIn the end, it
- Page 47 and 48: THE VIRTUESOF E-MAILKiosk is a perm
- Page 49 and 50: MAKEITEASYWith direct mail, make it
- Page 51 and 52: • Ask if this is a convenient mom
- Page 53 and 54: 5The mediaThis chapter discusses pu
- Page 55 and 56: The title graphic isdistinctive, in
- Page 57 and 58: • hand delivery - for a novelty i
- Page 59 and 60: CROSSINGBORDERS“I wanted to targe
- Page 61 and 62: • Find out if the programme is pr
- Page 63 and 64: When supplying your own photo, labe
- Page 65 and 66: 6Marketing onthe webThis chapter ha
- Page 67 and 68: HIGHQUALITYFor a website to make ap
- Page 69 and 70: THREETIPS1. Many of the onlinepubli
- Page 71 and 72: 7Good businesspracticeThis chapter
- Page 73 and 74: Keep a written record• Keep a jou
- Page 75 and 76: 8AppendixUseful readingGuide to Art
A B C D EThe ultimate aim of promotion is to make a sale. This bell-shaped curve reflects people’sbuying behaviour.At A, which may be six to eight weeks out from the season’s start date, people are at theawareness stage, and have been attracted to the initial promotional material.The inclining slope of B is the stage where people are interested in your show. Here,your promotional material is out on the street more intensively.At C, two weeks out from your opening, your audience is at the stage where they desireto purchase a ticket. Your promotion is heavy and emphasises the need to act now.The downward slope D is when they have their ticket in their possession. There is anotherrise again at E as they approach the date of their attendance. The rise of E may dependon previews, reviews and word-of-mouth.The more people you bring to C – buying a ticket – the better chance you have ofsurviving poor reviews.Your different target markets are likely to be at different places on the curve at any pointin time. For example, the primary target market is likely to peak sooner than thesecondary market.A well-manipulated promotional campaign will plan the advertising and promotionalcampaign around this curve and chart each target market’s path on this curve.You may think that the further out from the season’s start date that you lead people to Cthe better. But before taking this approach, you need to consider how long you cansustain the intensity of promotion needed to achieve a sale at the apex of C.It’s costly to sustain promotion at this level and if the campaign goes on too long yourisk losing your target market’s interest. Once people decide to buy a ticket they respondvery quickly. That’s why promotional material at C should prompt people to act now –perhaps even offering them incentives (see Incentives, page 47) to do so.Be sure your box office is ready to receive bookings as soon as your material goes out.Making the sale3<strong>Smart</strong> arts | Toi huatau25
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