# Negotiation



## synthetic (Aug 16, 2009)

I read a cool article about negotiation in the Sept 2009 Success magazine. (David Foster on the cover). Much of it felt like it related directly to composers. Some of it felt cheezy to me but might work for you:

- Never say yes to the first offer, they either think they should have asked for more (less) or that you're in trouble and are desperate. 
- Ask for more than you expect to get, Henry Kissenger's key to success
- A perception of options gives power to the purchaser. As the seller (composer) you need to make them feel like their options are limited or that you have something unique to offer. 
- Flinch at the other side's offer, always act with shock or surprise that they would ask for a reduced price. 
- Look out for the reluctant buyer. This buying game patiently listens to your pitch, tells you they're sorry they're not interested, then on your way out, "Just to be fair to you, what is the very lowest price you would take?" You drop your price dramatically and they win. 
- Listen to the buyer's proposal, then say "I'm sorry, you'll have to do better than that." The next person to talk loses the negotiation. 
- Never offer to split the difference. Have them offer to split the difference (which gives them the feeling that they've won) or keep going to drive the price up. 
- When you're asked for a concession, ask for something in return. If they ask, "can you write 95 minutes by Tuesday?" You reply with, "If I can do that, what can you do for us?" You might be pleasantly surprised by the size of the concession, and it will also stop them from grinding you for more. 

The whole magazine was inspiring, I recommend it for anyone who needs a boost in confidence or business tips. 

p.s. The David Foster "Hit Man" book that the article is based on is amazing, get it if you haven't already checked it out.


----------



## Thonex (Aug 16, 2009)

synthetic @ Sun Aug 16 said:


> - When you're asked for a concession, ask for something in return. If they ask, "can you write 95 minutes by Tuesday?" You reply with, "If I can do that, what can you do for us?" You might be pleasantly surprised by the size of the concession, and it will also stop them from grinding you for more.



you can ask:

Good, cheap, or fast? You can pick any two.


----------



## Stevie (Aug 16, 2009)

Hey Synthetic, 

thanks for the hint. Sounds very nice.

@Thonex:
very true, I might add: real orchestra, midi mockup or garage band? :D


----------



## ChrisAxia (Aug 16, 2009)

Thanks for that Synthetic. Just wanted to say that I read the Foster book a few months ago. A fascinating insight into his life. Did you also get the DVD of the Hit Man concert? Really great stuff!

~C


----------



## lux (Aug 17, 2009)

interesting read

i cant avoid considering though that, with many of those "smart action" rules, you easily end loosing the job unless youre the only guy on earth.


----------



## Stevie (Aug 17, 2009)

lux @ Mon Aug 17 said:


> interesting read
> 
> i cant avoid considering though that, with many of those "smart action" rules, you easily end loosing the job unless youre the only guy on earth.



Or they want you because they want your specific sound.
Composers are so exchabgeable... unless you really have your very own sound.


----------



## lux (Aug 17, 2009)

Stevie @ Mon Aug 17 said:


> lux @ Mon Aug 17 said:
> 
> 
> > interesting read
> ...



you touched a very important point imho.

this is something i'd like to start a new thread about. I'm expecially wondering about the chances to build a serious career out of just safe choices. I think today's tools tend to force composers to assemble standardized (even if often good sounding) stuff in their delivering. I think about symphobia or samplelogic stuff but there are a lot more out there. My impression is that this makes composers really exchangeable, as you point out, so i wonder how it is possible to build a serious and succeeded career if one doesnt give a good bunch of artistical reasons to a director to choose you. What i mean is that i feel a composer in a very "safe" shape can be easily replaced by the director cousin's friend in a breeze (no affordability is important but doesnt defend against that) , and no one will drop a tear about that.


----------



## IvanP (Aug 17, 2009)

Really good point, Luca


----------



## Hal (Aug 17, 2009)

very interesting "rules"
Dangerous !


----------



## Ed (Aug 17, 2009)

Thonex @ Sun Aug 16 said:


> Good, cheap, or fast? You can pick any two.



I pick good and cheap. You fail.


----------



## cc64 (Aug 17, 2009)

@ Ed

No Problem you'll just have to wait!

What was you're deadline already?  

Claude


----------



## Ed (Aug 17, 2009)

Oh yea, I fail! Thonex wiN!


----------



## David Story (Aug 17, 2009)

From my experience...
Musically aware producers are rare, hard bargaining producers are common.
It's usually the director who will help champion you as the right person to do the score, and get resources.

Good Fast Cheap is the simple truth, and sometimes they will buy it. But other times, people are in denial or too squeezed, and you end up compromising. Or saying no the gig.

The bigger the job, usually the more people you have to please, the more "safe" they want the sound. imho, it's good to learn the "standard hollywood cues", and be a bit creative within them.

Being a "businessman composer", or getting a good agent are solutions for negotiation. It's a tough skill to master, but I think there are good ideas here.


----------



## Nick Batzdorf (Aug 17, 2009)

Thonex "Da Hamma" Audiobro


----------



## dinerdog (Sep 10, 2009)

kid-surf

That is some of the best advice I've heard on negotiating. It's a brilliant way to strengthen your position without any animosity or bad feelings. I would bet that when you "ask" for more money this way, that you get it more times than not. Excellent.


----------



## JohnG (Sep 10, 2009)

Kid, that is about perfect.


----------

