COPYWRITING
My first real job was in PR for one of the world’s top orchestras, which I absolutely loved. I’d always enjoyed writing, and it was a dream come true being paid to do it daily for a top-notch organization. It’s a skill I’ve continued to develop ever since. In productions, clarity in your writing can mean the difference between smooth sailing or: artists stranded at an airport, a stage with no lights, and end-of-the-world stuff like the wrong sandwich being ordered for lunch. (That’s a little production humor.)
In marketing the arts, good writing means more butts in seats - but more importantly, the butts of adoring fans in those seats. The copywriting I do for clients consistently results in metrics well above industry standards (metrics = open, click + engagement rates). I accomplish this in part by writing about the arts in a friendlier way than what you’ve probably experienced from various institutions and academia. Let me put that another way: the writing you typically see in this area is sterile AF. SO…my main priority in copywriting is to present the arts in a way the artists see it - a passion, a love, something they can’t live without…from, by and for human beings. In my opinion - and experience - audiences want a conversation and connection, which usually can’t be achieved by lecturing them.
Below is are some samples of my writing. If you’d like more, feel free to reach out.
OP-EDS
FOR CLIENTS
Letter to patrons for concert:nova
Transitions + Metamorphosis for concert:nova
What’s in a Name: Bourbon for concert:nova
FOR MYSELF
RACHMANINOV OR RACHMANINOFF? (OR Рахманинов?)
I’VE DONE INDUSTRY-SPECIFIC COPY EDITING LIKE PROGRAMS/PROGRAM BOOKS AND OTHER TECHNICAL + PRODUCTION COLLATERAL* FOR:
Opera Theatre and Music Festival of Lucca (English/Italian), CCM Spoleto (English/Italian), World Piano Competition, Art of the Piano, concert:nova, and Queen City Cabaret, among others.
*this fancy talk means: I can help you make sure composer names + pieces are spelled and formatted correctly + uniformly, along with the right opus numbers, key signatures and spellings of foreign terms like “allegro ma non troppo.” Because you know there are people rubbing their hands together at the prospect of finding mistakes so they can rush into the green room and point it out.