The Creative Edge - Cover Letters
Copyright Peggy Hadden
(This article originally appeared in Getting the Word Out: The Artist's Guide to Self Promotion published by Art Calendar. Used with permission.)
When I first began presenting work to the art world, I sent slides out one set at a time, tentatively, without a cover letter.
Looking back now, it seems like I was trying to edge into a gallery unnoticed-when, in fact, just the opposite was true. I wanted very much to be noticed.
Sad to report, the slides would usually come back in the same condition, with no acknowledgment letter-an event particularly disappointing for an artist. I failed to grasp that if I wanted to receive a letter, it would help if I sent one.
In fact, the responses and what I learned from them improved dramatically when I began writing a few words to the person to whom the packet was addressed. Thus evolved a series of ideas for writing art-related cover letters more effectively.
- Have a plan.From the first sentence:
- Get their attention-state why you are writing to this person.
- Briefly introduce your work and give reasons why you think this person will be interested in seeing it.
- Motivate prompt, easy-to-take action.
- Use a tone that emphasizes the reader. Avoid an "I, me, my" attitude. From the reader's point of view, why are you writing to him/her? Why should s/he be interested?
- Be concise. The art world is one place where monotonous, overblown writing has become the style. But you are not writing reviews, and you are writing to busy people. They will only become annoyed by wordy, verbose messages and probably not spend time reading them. Evaluate your sentences and weigh every word. Is it relevant? Necessary? Shorter words are more forceful. Stress words of one syllable to get your point across. Also, vary the length of your sentences.
- Decide what you want and ask for it. Be as specific as possible. Make your request persuasively. Do this early in the letter, with reasons following for why you should receive a "yes." Don't put the reasons first and then make your request-building up to a grand conclusion in a letter is an art form which disappeared with the advent of junk mail. Shortened attention spans now give you less opportunity and make brevity essential.
- Paint a picture. You can achieve strength for your idea/work by portraying a clear image in the reader's mind of how it might be utilized for his/her circumstances (gallery, park, atrium, museum, board room, etc.) Also, relate your reader to your work. My work has been collected by several financial institutions. By mentioning this when I approach a similar business, I wordlessly convey that my work had been adopted by and "fits" with similar groups. This kind or reassurance strengthens your case with any reader to whom you are appealing. They will respond positively to the mention of those in your past whom they consider their colleagues.
- Avoid weak words and negative phrasing. I once worked for a woman who taught sort-story writing. Whenever I used the word "very" she would stop me and say, "Very is a very weak word." She would ask me to go back and replace "very" with a more concrete or descriptive term. I would consciously avoid using "very" because it fails to enhance. Be sure your words do the job you send them out to do.
Words like "sorry," "cannot," and "no" are disagreeable, negative, and unpleasant. Good will is an intangible quality which is extremely important for the artist. To receive the good will of others, one must offer good will to them. Positive language stresses the light rather than the dark. It emphasizes what can be done rather than what cannot. Your art world reader will be drawn to optimistic attitude. There are several ways to say the same thing:
For example, this is weak: "I hope you like my work." A better way: "I thought you might have a project for which my new work would be just right."
Avoid any suggestion that what you are asking is not possible, that your request or idea will not succeed, or that the person you are addressing is too busy to be reading your letter.
- Motivate action. Offer to present your work in person. State where your studio is and that you would be delighted to show your work there or at another more convenient location.
Suggest that if there is interest you will send large photos which can portray your work in a format which is easier to see than the slides you're now sending. Stress your availability to discuss your work or particular idea further. If you have proposed a project or event, offer references who will vouch for your experience or expertise. Supply your reader with the necessary information to make a positive decision.
- The first and last sentences of your letter should be the most forceful. Make sure that your first sentence connects with your reader and has his/her point of view in mind. The last sentence should emphasize the desired action and hint at a timetable. Don't say "soon", say, "this season."
- Do not thank them in advance for what you are requesting. This usurps their right to decide. If you want to thank them, then thank them for their attention to your letter.
- Use a short PS A short PS allows for a brief summing up in case your entire letter wasn't read. It can convey optimism in shorthand, leaving your reader with a good feeling.
- Another important element of your letter is the name of the addressee. Always address materials to the gallery director or museum curator by name. A friend of mine had recently been on the receiving end of slide submissions, and her pet peeve is to receive mail addressed to "Dear Gallery Owner." She says it is impersonal and seems as if the artist doesn't care enough about his/her slides to find out whom s/he was sending them to.
It's easy to get the correct name by looking up the space in a national gallery listings guide, such as an art magazines' annual issues (usually summer editions.) Many libraries have directories of art personnel in their reference departments. Or, call the space and be sure you have the person's correct name, spelling, and title before you send anything to them.
One good reason for sending your stuff to the director is that you're starting at the top; your work might be passed on to be viewed by someone else, but don't help it get deferred or lost by addressing it to the "viewing staff."
Now let's consider the responses you might get and how you can use them. The optimum response is, of course, initial interest generated by the quality of your work and the good will of your cover message. But even when the response is negative and the acknowledgment is obviously a form letter, I often get a few sentences written in a PS by hand from the person to whom I've addressed my materials. Sometimes surprisingly encouraging things are said. Sometimes the response I received has nothing to do with my work (i.e. an illness is forcing the gallery to close, or the dealer may feel that my work is too similar to an artist whom s/he already shows) and suggest another move; they will refer me to another gallery and say to use them as a reference. Those "footnotes" can contain information which is useful later-in a chance meeting with them or in my next submission to their gallery.
Sometimes, over months and years of cover letters and responses, a relationship between you and your reader develops. I have communicated for several years with a gallery owner who is still unable to include my work in her gallery roster but who writes that she enjoys seeing my periodic submissions, that she follows the progress of my work with interest-she often cites examples and her memory really surprises me-and that she hopes I'll stay in touch. This is one of those every-six-months exchanges I'm willing to invest in-they help me stay connected with various parts of the art world and may pay off one of these days.
To sum up, your letter can help your work be well-received, whether immediately or in the long run. Give yourself every chance to succeed.
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