A professional is skilled, proficient, competent and businesslike. Who wouldn’t want to emulate these qualities?

Professionalism should be that standard by which we work at all times, no matter the type of project, the size of the budget, or the people for whom we are working. What you do at every step, how you conduct your business and professional life, will determine your career.

Be a pro at what you do: return calls; be on time for meetings; be respectful of your filmmakers’ accomplishments; be considerate of their time; be knowledgeable, efficient, businesslike, and clear; be the person on the team who gets things done — even if it’s beyond your job description as a composer — and always be prepared for any situation. Then, create exceptional music.

The business of a film composer can be elusive. You might be so involved in your own world of creating beautiful music that you forget (or don’t even know) how to be businesslike. Perhaps musical proficiency holds more importance for you.

Skill and competency in music is important, but that isn’t enough to be successful as a film composer. You can be highly trained in your field but if you don’t know how to deal with people on a professional level and do business, then how will you forward your career?

Here are a few concepts I have acquired by reading articles and books, by talking with business professionals — who are not composers or musicians — and through my own experience.

The Call
What might seem simple, like returning calls or emails, may be a problem area you need to handle in your business approach.

A quick reply could put you ahead of the other composer who seems too busy and waits a couple of days (or even a week) before answering a call or an email. It doesn’t have to be that time-consuming to make a call or write a quick email. If your attitude is, “This can wait,” then you may be sending the wrong message.

If you don’t have a lot of time to talk, then preface your call by saying, “I only have a minute or two, but I wanted to return your call.” They will appreciate your quick action.

Make it a rule to return calls and emails within 24 hours or less, because another composer could be contacted just as easily as you, and they will find the time to make that new connection.

Networking
Networking is critical for a film composer. You have to get out there and meet filmmakers.

Join filmmaker groups and be consistent in attending their events.

Networking is like an advertisement in a newspaper or on television. People see the ad and usually don’t respond right away, but if they see the ad enough, the name or product becomes more familiar.

Results are not always immediate in advertising or networking. The people you meet may not become your very next project, but after consistent networking and being out there, your name will come up and you will be remembered, then maybe they will call you.

Recently I was at a film event, and I met a new filmmaker who recognized my name and commented, “I’ve heard a lot of good things about you.” That was nice! I haven’t heard anything since, but it is a good sign to me that my networking is paying off.

If you need to improve your networking skills, there are some great books and articles that can teach you the technique of meeting new people and feeling comfortable in a social surrounding. Composers are sometimes used to being on their own and not socializing, but you will never meet people in the film business unless you get out there with them and network.

Learn the art of conversation and be determined to lose your inhibition in a social setting.

A Google search on conversational books will lead you in the right direction.

Follow Up
Your networking should provide you with several new business contacts and their cards.
During the networking event, and directly after your conversation with the new filmmaker, write down quick notes that will remind you of what you just discussed with your new contact. It could be something about their work or a topic that came up in conversation… anything to remind you of them and what you were talking about. Just write it down. Later, it will be something you can refer to.

Then, follow up. So many times people don’t follow up with the new contacts they have made, and the opportunity is lost. Business cards do nothing for you unless they are used. Some people never look at them again and throw them away. These are potential leads for you, so make good use of them.

I try to follow up with a short email the same day or evening I have met a new filmmaker.

View the filmmaker’s web site; in your email bring up the conversation you had with them or mention something good about their work, and include your contact information and links to your web site in your email signature.

Those are great ways to truly take advantage of business cards.

Continue following up with your new contacts. Find out what they have for new projects and give them updates of your recent work.

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It takes effort to do business as a film composer, and even if you don’t see immediate results, you will eventually.

I look forward to your comments and the ideas you all have on being pro.

You can learn more about Nan and her music by visiting her website at NanAvant.com.

Related posts:

• Deane Ogden: Opening Thoughts – Marketing Yourself as a Film Composer
• Lee Sanders: TLAs