{"id":100,"date":"2009-04-30T14:10:32","date_gmt":"2009-04-30T14:10:32","guid":{"rendered":"http:\/\/www.artsjournal.com\/diacritical\/wp\/2009\/04\/more_valuable_-_the_ticket_buy\/"},"modified":"2009-04-30T14:10:32","modified_gmt":"2009-04-30T14:10:32","slug":"more_valuable_-_the_ticket_buy","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/diacritical\/2009\/04\/more_valuable_-_the_ticket_buy.html","title":{"rendered":"More Valuable – The Ticket Buyer Or The Donor?"},"content":{"rendered":"

Give an arts organization $1000 and they’ll put your name in the program. Buy $1000 worth of tickets and they’ll tell you that the cost of your ticket only covered 55 percent (or 40 percent or 30 percent) of the cost of you being there. Then a few months later, long after the performance, they try to hit you up for more money. Gee thanks.<\/p>\n

\"donorwall.jpg\"<\/span>Maybe this is backwards. Who’s the more valuable member of your community? The person who gives you money but otherwise doesn’t have much to do with you, or the person who buys tickets and shows up for every performance? A thousand dollar donation is the same as $1000 of ticket revenue in the bank. Except it isn’t. <\/p>\n

Studies of how people make their cultural choices show that personal recommendations top the list. Most arts organizations try to incentivize donors by giving them perks. Your name in the program, special meet-and-greets with artists, club rooms, even your name in golden letters on the wall of the theatre if you give enough. <\/p>\n

What incentives do ticket-buyers get? <\/p>\n

A ticket sold isn’t just a ticket sold. One audience member isn’t the same as another. Communities are hierarchical, and if you can identify the hierarchies and incentivize them you can push people up the ladder. Along the way they’ll do things for you (and for themselves). People like to be rewarded for engaging with you. <\/p>\n

Sure the performance should be enough reward, I know. But if word-of-mouth is the most powerful way of getting more people into the theatre, how do you promote that word-of-mouth? In online social networks, participation is rewarded for the frequency and quality of that participation, and even small recognitions encourage people to participate at higher levels. <\/p>\n

If you have an audience member who brings five friends, find a way to reward them. If they bring 10 friends, give them something more. Every arts organization has a page in their program listing the names of people who contributed money and at what level. How about a page that lists the names of people who brought in more people? Reward them with free tickets to bring in even more. Make them feel like a partner and they’ll bring in even more.<\/p>\n

The Obama campaign was brilliant at empowering supporters the more they participated. Supporters could sign up for their own page on the Obama website where they could make a personal case for the candidate. They could pledge to raise $1,000 from their friends, then send out emails that directed them to mybarackobama.com to make that personal appeal. It worked brilliantly. <\/p>\n

There’s another thing. Most organizations don’t give people enough ways to support them. Some people can’t afford to give money, but they’d be happy to recruit their friends on your behalf. Some people don’t have extra time to commit to fundraising or being on your board, but they’d be happy to talk you up. All it takes sometimes is empowering them to do it. And in imaginative ways that don’t always cost you money or resources.<\/p>\n

Who’s making the personal appeal for you? And how are you rewarding them?<\/p>\n","protected":false},"excerpt":{"rendered":"

Give an arts organization $1000 and they’ll put your name in the program. Buy $1000 worth of tickets and they’ll tell you that the cost of your ticket only covered 55 percent (or 40 percent or 30 percent) of the cost of you being there. Then a few months later, long after the performance, they […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-100","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p4ePZm-1C","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":80,"url":"https:\/\/www.artsjournal.com\/diacritical\/2009\/04\/while_the_recession_might_be.html","url_meta":{"origin":100,"position":0},"title":"The Romance Of A Really Big Audience","author":"Douglas McLennan","date":"April 8, 2009","format":false,"excerpt":"While the recession might be hard on some publishers, the romance novel genre is booming, reports the NYT. Harlequin Enterprises, the queen of the romance world, reported that fourth-quarter earnings were up 32 percent over the same period a year earlier, and Donna Hayes, Harlequin's chief executive, said that sales\u2026","rel":"","context":"With 2 comments","block_context":{"text":"With 2 comments","link":"https:\/\/www.artsjournal.com\/diacritical\/2009\/04\/while_the_recession_might_be.html#comments"},"img":{"alt_text":"harlequinfeature.JPG","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/harlequinfeature.JPG?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1296,"url":"https:\/\/www.artsjournal.com\/diacritical\/2017\/01\/are-orchestras-a-ticket-or-an-art-maybe-were-thinking-about-the-made-up-model-wrong.html","url_meta":{"origin":100,"position":1},"title":"Are Orchestras A Ticket Or An Art? Maybe We’re Thinking About The (Made Up) Model Wrong","author":"Douglas McLennan","date":"January 26, 2017","format":false,"excerpt":"As recently as 1990, American symphony orchestras accounted for an average of 60 percent of their budgets in earned income. This meant, at the time, that if you weren't selling enough tickets (and other services) to make 60 percent, then you weren't considered healthy. A report in 1991 - The\u2026","rel":"","context":"In "culture business models"","block_context":{"text":"culture business models","link":"https:\/\/www.artsjournal.com\/diacritical\/category\/culture-business-models"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2017\/01\/orchnumbers.png?fit=959%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2017\/01\/orchnumbers.png?fit=959%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2017\/01\/orchnumbers.png?fit=959%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2017\/01\/orchnumbers.png?fit=959%2C1200&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":354,"url":"https:\/\/www.artsjournal.com\/diacritical\/2009\/05\/power_in_numbers_there_ought-2.html","url_meta":{"origin":100,"position":2},"title":"10 Ways to Think About Social Networking And The Arts (the zen of "free" as a strategy)","author":"Douglas McLennan","date":"May 28, 2009","format":false,"excerpt":"Power in numbers. There ought to be a simple formula to calculate it. Is it better to have a small devoted audience or a massive casual one? It depends on the scale of what you're trying to do. TV has power because it has the ability to attract millions of\u2026","rel":"","context":"With 13 comments","block_context":{"text":"With 13 comments","link":"https:\/\/www.artsjournal.com\/diacritical\/2009\/05\/power_in_numbers_there_ought-2.html#comments"},"img":{"alt_text":"power.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/power.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":358,"url":"https:\/\/www.artsjournal.com\/diacritical\/2009\/07\/of_ticket_sales_business_model-2.html","url_meta":{"origin":100,"position":3},"title":"Ticket Sales, Business Models & Community – Five Ideas To Build Community","author":"Douglas McLennan","date":"July 19, 2009","format":false,"excerpt":"I was a bit surprised by some of the reaction to my last post on the unsustainability of the ticket sales model in the Attention Economy. Boil down my argument and it's essentially this: products used to compete primarily with other products in their sector. Jazz competed with other jazz,\u2026","rel":"","context":"With 2 comments","block_context":{"text":"With 2 comments","link":"https:\/\/www.artsjournal.com\/diacritical\/2009\/07\/of_ticket_sales_business_model-2.html#comments"},"img":{"alt_text":"reward2.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/reward2.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1151,"url":"https:\/\/www.artsjournal.com\/diacritical\/2016\/09\/some-of-our-orchestras-seem-to-be-thriving-is-this-a-new-trend.html","url_meta":{"origin":100,"position":4},"title":"Some Of Our Orchestras Seem To Be Thriving – Is This A New Trend?","author":"Douglas McLennan","date":"September 20, 2016","format":false,"excerpt":"There's been a change in the news coming out of symphony orchestras over the past summer. Usually there's a background drumbeat of struggle as orchestras fight to stay alive. But for months now, the beat has shifted, and we're hearing about orchestras that are not only surviving but thriving. Yes,\u2026","rel":"","context":"In "arts and business"","block_context":{"text":"arts and business","link":"https:\/\/www.artsjournal.com\/diacritical\/category\/arts-and-business"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2016\/09\/Stlouisso.jpg?fit=800%2C213&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2016\/09\/Stlouisso.jpg?fit=800%2C213&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2016\/09\/Stlouisso.jpg?fit=800%2C213&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/diacritical\/wordpress\/wp-content\/uploads\/2016\/09\/Stlouisso.jpg?fit=800%2C213&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1240,"url":"https:\/\/www.artsjournal.com\/diacritical\/2016\/11\/this-weeks-aj-highlights-hamilton-teaches-the-art-of-protest-at-last-some-real-data-on-orchestras.html","url_meta":{"origin":100,"position":5},"title":"This Week’s AJ Highlights: “Hamilton” Teaches The Art Of Protest, At Last Some Real Data On Orchestras","author":"Douglas McLennan","date":"November 20, 2016","format":false,"excerpt":"This Week: That Mike Pence goes to \"Hamilton\" story? 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