The Blueprint
Making Sure We’re Solving the Right Problem.
GLITSKÝ — The Blueprint
Everyone always asks for more sales and more streams.
That’s a level 3 type of problem. Are we sure we’ve solved for problem 1 and problem 2 first?
Because if we haven’t, good luck with that.
1. The Positioning Problem
Even if the audience might know your name, do they know what you stand for, what they can expect from your project, and what it says about themselves that they like your work?
If the answer to any of these is “no” – you have a positioning problem.
2. The Excitement Problem
They know you exist, but are they excited about your current offering?
Do they know what your product is, when it’s coming out, where it’s available, why they should want it, and ideally why they should part with their money to get it and shout about it from the rooftop. If that’s a no, people are simply not excited enough about this specific product.
3. The Conversion Problem
Now you can push for sales. And streams. The only problem if people are already super excited is: is my ask clear enough. Is the ask obvious? Is the link right? Is the ticket available? Is the release easy to find? Is the CTA clear? Is there friction between intention and action?
Get that solved immediately – because that’s a technical clean-up that’s a lot easier to solve than the other two.
Practical tools and frameworks developed through GLITSKÝ’s work in artist management, marketing, and international artist development.
Built for the work we do every day.
Made available for artists, creative teams,
and independent businesses to use themselves.
Let’s solve the correct problem.
First, we need to know what it is.
Use GLITSKÝ’s Diagnostics Sheet [coming soon] to turn the messy data from your platforms into five useful layers: OUTPUT → REACH → ENGAGEMENT → AUDIENCE → OUTCOMES
Look at where the chain is breaking before jumping to conclusions.
If you're not reaching anyone, start with output and distribution.
If you're reaching people but they're not responding, investigate the positioning and the offering.
If people are engaged and excited but aren't taking action, look for friction between intention and conversion.
It’s too expensive to guess. Let’s solve the correct problem on the first try.
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It’s about Artist Identity. First establish:
Who are you?
What is distinct about the work?
Who is it for?
What do you stand for / what world are you building?
What should someone understand or remember after encountering you?
What is true now that wasn't true in the previous cycle?
What evidence supports the position?
Then make the positioning legible through:
Artist Bio · Photography · Visual Identity · One-Sheet/EPK · Online Presence · Platform Bios · Key Messaging. -
So you have the Artist Identity clear.
Next, answer for this campaign:
Why should someone care about this specific thing, right now?So the story of the following needs to clear and precise:
What are we selling?
Why this project?
Why now?
What's the story?
What's new?
What's the hook?
What can people participate in?
What makes someone want to tell another person?
What to prepare:
Press Release / Talking Points · Release Narrative · Campaign Concept · Content · Press · Social · Live Moments · Partnerships · Paid Media · Distribution · Audience activation · ongoing analytics.
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If something is wrong here, drop everything and fix it.
If you don’t know how to fix it, hire someone. Like now.
The checklist should include:
Can they find it?
Can they understand what you're asking them to do?
Can they do it immediately?
Does the link work?
Is the correct destination linked?
Is it available in their territory?
Does it work on mobile?
Are tickets actually on sale?
Is the purchase path obvious?
Is the CTA consistent?
Are pixels/tracking working?
Are you measuring the correct conversion?
Because if people already want the thing and you're losing them because of technical friction, that's ridiculous.
Identified the problem?
Solve it right away.Here are the tools we use.
POSITIONING
Building The Perfect Artist Bio
Everyone always asks for an artist bio, yet it’s the hardest document to produce.
Why is it so hard?
Because we need to summarise an artist’s worth in a sentence to an incredibly tough crowd: the industry, or the public at large.
That’s why for our clients we write these bios and then rewrite them, and then write them again.
As the milestones happen and we hit goals, the story develops (and that’s what we want!),
but it does mean the framing has to change with it.
To make this incredibly time-consuming work more manageable, we codified our approach into The Perfect Artist Bio Checklist, available as a free download. More recently, we’ve recruited the robots (AI) and managed to save ourselves whole days of writing work.
So we’ve packaged the system we use into the Artist Bio Builder, for artists and managers to use themselves.
