THE INSPIRATION PLACE PODCAST
Tara Reed:
Hi, this is Tara Reed from tarareed.com, and this is the Inspiration Podcast with Miriam Schulman.
It’s the Inspiration Place Podcast with artist Miriam Schulman. Welcome to the Inspiration Place podcast, and art world insider podcast, for artists by an artist, where each week we go behind the scenes to uncover the perspiration and inspiration behind the art. Now you’ll host Miriam Schulman.
Miriam Schulman:
Well, hello. This is your host, artist Miriam Schulman, and you’re listening to episode number 9 of the Inspiration Place podcast. I am so thrilled that you’re here. Today, I’ve invited artist Tara Reed, who has all been licensing or arts since 2004. With a love of business for many years, she did all of her own marketing, exhibiting at industry trade shows as well as creating the art.
Miriam Schulman:
In 2008, she founded artlicensinginfo.com, a resource for artists to learn the business side of licensing her art. She sold that same site seven years later when her father’s health was declining. Shortly thereafter she decided it was time for change and joined the Roaring Brook licensing agency. While it was a hard decision to make after steering her own ship for 13 years, working with an agent has freed up time and energy so she can focus more fully on creating art.
Miriam Schulman:
So in this episode we’re going to talk about why working with an agent makes her more creative, the trends she spotted in recent trade shows, such as the annual SURTEX show, and also how she creates collections for her agent to share with clients. Hi Tara, thanks so much for being here.
Tara Reed:
Well, thank you so much for having me. I’m excited.
Miriam Schulman:
Tara, I’ve been following you for a long time when you were teaching art licensing. I kind of dipped my toe in that water and I do get $13 every month from various people, but it’s not really my business. My business is doing online art classes and creating fine art for sale. As we’ll get into in this conversation, we’re going to talk about really the differences between creating art that is for a client, versus where I just do what I feel like, so I really want to talk to you. But yeah, at the same time there are certain things that do intersect, which is why I used to like those conversations and going to SURTEX, because there’s things that kind of appear on the cultural conscious, like why something becomes a trend and then shows up. And then I like to pay attention to those things.
Miriam Schulman:
So I wanted to talk to you about that first, like what were the trends that you spotted this year on SURTEX and then we’re going to dive into your role as an artist who, now you have an agent and then how you support clients who come to you with different art, or whether it is that you come up with the art and then you show it to clients. So are you ready for that?
Tara Reed:
I am ready.
Miriam Schulman:
Oh awesome.
Tara Reed:
Let’s do it.
Miriam Schulman:
Okay. So first of all, I have my own ideas, but what were the trends that you spotted at SURTEX this year?
Tara Reed:
Well, the one, and I’d kind of seen it coming and it definitely was confirmed at SURTEX, was the sloth is the upcoming animal. I always go home. I stay with my mom when I’m at SURTEX. She lives in New York now and she’s always like, “Oh, what are the trends?” I’m like, “The sloth.” She’s like, “The sloth? Why? Why the sloth?” I’m like, “I don’t know. It’s kind of gone owls, foxes, unicorns, llama, and now we have the sloth.” I said, “I think it’s because it’s just to embrace a slower lifestyle.” I mean, honestly that’s what I think the sloth is about. The sayings are a lot of times about laziness or stop rushing. And I think that’s why we’re starting to see the sloth, because we all just need to slow down. That’s why I’m embracing the sloth anyway.
Miriam Schulman:
That’s so interesting. But I also saw a broader trend of just jungle animals in general. We had the woodland creatures that included the fox and the owl, and now I see the exotic ones.
Tara Reed:
Birds in particular, I would say. At least this was what I was seeing, the tropical birds and hearing about, and tropical leaves. Even jungle, even if it’s just leaves. So to the untuned eye, they might be like, “Oh it’s tropical leaves,” and be happy with it. But really we’re going into that jungle-leaf look.
Miriam Schulman:
Yes. And that Jungalow … that like leaf that looks like this. No, but they can’t see me so I can’t draw it with my fingers. But I was seeing weird animals besides the sloth, zebras, pandas and like you said, any kind of jungle animal. Cheetahs. Do you agree with that?
Tara Reed:
I mean you were walking more than I was at the show. Zebras and cheetahs didn’t really jump out to me, which I feel like maybe they would have because they were so huge, or at least their prints were so huge a few years ago. I mean you couldn’t throw anything in a store without hitting a zebra-print something, or a leopard print, but I do see that coming back a little. But I would say more that the leaves, the tropical leaves, jungle leaves and yeah, kind of moving from the woodland to the jungle animals.
Miriam Schulman:
Right, right. Definitely. Then a trend that I think is still there, I mean you were saying exotic birds, but I feel like the peacocks have waned a little bit. Would you agree with that or do you think there’s still hot?
Tara Reed:
No, I think they’re on their way out. They’re kind of walking away with their pretty little butts. No, it was more like tropical birds. I had a new topical bird collection and then also birds of the coast. I had two new bird collections that we were showing. It was definitely the tropical birds were the ones people were like, “Oh yeah, tropical birds. This is what we need.” I had interest in the coastal birds because you’re always going to have coastal, a need for coastal. But the tropical birds was where people felt like they were getting more excited, because it was on their radar for trend.
Miriam Schulman:
Okay. And then how do you see this actually playing out? Is it that you start getting requests from your agent, “Can you show me a tropical bird?” Or is it that you notice there’s a trend so you create tropical birds for your portfolio, so those tend to sell better? Which is it?
Tara Reed:
It just really depends. Sometimes it’s a little bit of each. I would say my portfolio is built more on what I want to build into it than my agent telling me. But at the same time, I recently just sent my agent a list and said, “Hey, here’s trends that I saw and heard about,” because he’s getting ready to go to the Atlanta Gift Show in July. So I said, “If any of these jump out at you as something you definitely want me to have done for that show, let me know,” and he’ll help me prioritize what I’m doing first, second or third, if I don’t have a real strong feeling about it.
Tara Reed:
Sometimes he’ll give ideas. But that’s also tricky too with an agent because he represents so many artists. Some agents send the same trends to everybody. So they might have 30 artists and they’ll say, “Here’s the trends we’re looking for,” and they send out like this mass call-out. Well then you get a bunch of people doing the same thing and one agent to be showing it. So it’s kind of weird.
Miriam Schulman:
You’re competing against the other artists?
Tara Reed:
Right, right. Because they don’t need 15 tropical-bird collection options. It would become so overwhelming for the client that they might not choose anything. Right? So my agent, I mean, I’ll speak for him, this is my theory, I feel like he follows what we’re doing. And then if they were to come to me and say, “Hey, can you do this?” It’s because they know it’s really in my wheelhouse of what I’ve done. I’ve done a few collections. Another trend right now is animals and clothes, humanizing animals. You haven’t seen this?
Miriam Schulman:
No. Do you mean kids’ characters? I’m not quite sure what you mean.
Tara Reed:
No, taking a giraffe, like you have behind you, almost a realistic one and then putting a hat and gloves. Like that.
Miriam Schulman:
Yes. Kate Spade has a lot of those things.
Tara Reed:
Yeah. Yeah. So that is definite up-and-coming trend and I’ve been having so much fun with that trend. I did one collection called Warm in the Wilderness, where it’s bears acting like they’re cold, so they’re in scarves and stuff like that.
Tara Reed:
So because I’ve done a few collections with animals and clothes, when they had a request for a different kind of animal and clothes, they came to me. They’re like, “Hey, this client’s looking for this. You’re our artist that’s doing this right now. Can you do this?” It made sense for them to pass that ball to me versus some of their other artists.
Miriam Schulman:
Okay. Then you said something interesting back there that brought another question to mind. SURTEX show is the end of May. Then when is the Atlanta Gift Show?
Tara Reed:
Did you hear that the SURTEX show is moving? But we won’t get into a huge discussion about that?
Miriam Schulman:
No.
Tara Reed:
Yes. Next year it will be February. They’re moving it to correspond with the New York Now Gift Show, and it will start on February 3rd which is Superbowl Sunday. We’ll see what happens.
Miriam Schulman:
Okay, that’s interesting.
Tara Reed:
Yeah, I mean I’ve been in this business for 15 years. It’s always been the third weekend in May. So it’s really freaking me out a little bit. The main gift show in Atlanta, the biggest one is in January. Then I would say the second biggest one that’s important for licensing would be in July. It’s usually the second week of July.
Miriam Schulman:
Okay. When you say that you spot a trend, this year it’s May, we won’t get into what’s gonna happen next year-When you say you’re getting things ready for the Atlanta Gift Show, are you talking about between May and July of the same year, getting things ready for your agent?
Tara Reed:
Yes. Yeah.
Miriam Schulman:
Okay, great. Let’s dig into that because I’m so fascinated by what this means to you. How many new artworks are you producing during that time? During those six weeks, let’s say.
Tara Reed:
I am very productive. I’m a very productive artist and now that I have an agent, I’m super productive. My business has always gone SURTEX to SURTEX and last year I did, I believe, like 34, 35 new collections in that year.
Miriam Schulman:
All right. Backup because people who are listening, they don’t understand what a whole collection is. So when you say you have 35 collections, how many pieces of art are in each collection? This is like, I was going to Saint Ives and-
Tara Reed:
Okay. Here’s the basics of art licensing. In art licensing you need to create art in collections. If you think about shopping, and I always like to use dishes as an example, so you think about “I’m going to go buy some Christmas dishes.” You wouldn’t buy something that had the same exact design on every thing, right? There’s always four solid plates. They always have a different design on them.
Tara Reed:
The dinner plate is usually coordinating pattern or coordinating design that’ll look good, one on top of the other. The mugs might have the same four designs from the plates. So a collection is at minimum four images that coordinate, that just totally go together. I usually start in squares, then I’ll do some rectangles. I might put things in circles. You have to be really flexible with your art to be able to format it to different shapes, again, thinking about the kinds of products. Like is it going to go on around plate? Is it going to go on a rectangular tablecloth? Is it going to go on a mug that is curved? So you have to be very flexible and be able to do a lot with your art digitally, even if you paint. I hand paint everything, but I’ve got mad Photoshop skills because I have to. So four images, minimum, maybe some more. Then I always do a few supporting patterns. For Christmas, it might be a plaid, it might be a snowflake toss and might be a stripe. It might be all three so that the manufacturers really have a variety of things to work with so they can make something interesting. So people want to buy more than one piece.
Miriam Schulman:
Okay. Let’s pretend you’re doing the tropical-bird collection. What would that look like?
Tara Reed:
Okay, my tropical-bird collection, it had a macaw. I did two toucans. I did a parrot and then I think I did two more toucans and then two other birds. Then I did a variety of flowers. I did some birds of paradise. Plumeria, is that how you say it? I’m not good at flower names . You know the ones that they put behind their ear in Hawaii?
Miriam Schulman:
Right. Hibiscus?
Tara Reed:
No. Well I did hibiscus too. It’s something with a P. I don’t know. All the Hawaiian people know that I said it wrong. Or right. I don’t know. Then some branches and then some different palm leaves. I painted them all separate so that I could layer them in Photoshop, and turn them into whatever shape I needed them to be. Then to support that, I created a repeat pattern that was just the palm leaves because it would look really pretty behind any of the images. So again, if you think of the plate example, the dinner plate might be a beautiful repeat with palm leaves and then each salad plate has a bird on it. So if you’re layering them on your table, like a good little Martha Stewart person, it’s going to look really cute layered together. Then I also did a plaid with colors from all the birds so that it would coordinate with that. Then I did a texture. That’s what that looked like.
Miriam Schulman:
All right. I know that we-
Tara Reed:
You have steam coming out of your ears..
Miriam Schulman:
It’s fun. But like I said, this is not what I’m doing. I’m just still fascinated by it. Then I have friends who want to get into licensing. So I actually took down some … I was like, “Blenda, what do you want me to ask Tara?” So some of these questions come from my friend Blenda. She wants to know what medium do your clients prefer you work in, or is it just really what medium you prefer to work in, to order to create these collections?
Tara Reed:
As far as the art medium?
Miriam Schulman:
Yeah. Are you doing acrylic? Are you doing watercolor? Are you using an iPad? I think you said you hand paint everything.
Tara Reed:
Yeah, I personally do watercolors. I’ve dabbled in acrylics. It’s not my favorite and therefore it doesn’t come out as well. You really need to do what works for you. Acrylics, there’s been people that have used oil paints that have done well in licensing. Digital for sure. iPad or digital on a computer. Watercolor. I don’t remember what I didn’t say. Colored pencil doesn’t work as well.
Tara Reed:
Now somebody’s going to say, “But Marianne uses colored pencil,” but she does it over her paintings. She does it to add texture and vibrancy. Again, it’s think about what you’re seeing in the store. Then there’s definite trends that go through. I’ve been doing this, like I said, 15 years. So you see things come and go. Really hand painted will be really popular. Then all of a sudden vector art, that really computer, digital, modern look is what everybody’s looking for, and all of us who paint are going, “Oh my gosh, what’s going to happen?” But if you get going long enough, then it comes back. My advice would be don’t pick a medium for the industry. Pick a medium that speaks to you and that you can really do well. I mean you do things by request that maybe aren’t like, “Oh, this has me so excited,” but if it doesn’t have you excited at all or the medium isn’t really working for you, it’s not going to work well enough to actually get a deal.
Miriam Schulman:
Okay. All right. You said you did 35 collections for the Atlanta show. Is that right?
Tara Reed:
No, for SURTEX, in a year. So I will probably have-
Miriam Schulman:
But you took all year to do 35?
Tara Reed:
Yes. Yeah. I will probably have five new things done for him to take with him in July, that people did not see in May. Because I also had to do all the followup. When you’re at SURTEX people are like, “Oh I love that, but can you change the color of this bird? Can you change the format of this? Can you do this?” So you’re doing a lot of manipulating and adjusting for specific people’s needs. It’s not like you’re constantly like, “Oh, that’s done. I don’t have to do anything. I can move on.” You’re hopefully, because that means you’re close to getting a deal or have a deal, playing with it too to make it right for their product, because that’s really what we do. We create art that sells a product.
Miriam Schulman:
Then once you’ve closed the deal, you still, I’m sure, have art direction from your agent and the client. Is that right?
Tara Reed:
Yes. Yeah. The business has changed a little bit. Sometimes you’re not going to actually get a contract and be sure you have a deal until they’ve shopped it. You might be doing some of that manipulation ahead of time. Maybe they’re going to go, “Oh we want to show this to Bed Bath & Beyond. Oh they want to see this a little bit different.” And you’re having to do those changes before you know if you’re getting that deal or not.
Miriam Schulman:
Can that be frustrating, or is that more encouraging because you feel like, “I’m doing this work and I’m really close”?
Tara Reed:
It can be either. It depends on the client and how well you know the account, because sometimes with a newer company you don’t know, “Are they just making me jump through these hoops and they’re not sure what they’re doing?” You don’t really have a track record with it. Sometimes that’s where you might say, “Okay, I’ll do one or two changes, but if you want more I would like an advance,” and they can say, “Yes,” or, “No.”
Miriam Schulman:
Okay. You said that in this SURTEX cycle, you created 35 new collections and you’re working with an agent now. So previously Tara, you acted as your own agent. So how does that compare when you didn’t have to act as your own agent? Did you have just as many collections to show?
Tara Reed:
No, I usually had in the low twenties, I would say, when I was doing it all myself. But also since I’ve started with an agent, I’ve changed my style and my painting style takes a lot longer than what I used to do. So not only am I doing more, but it’s more detailed. It’s more painterly, watercolors. So it does take me longer to do a collection than it used to.
Miriam Schulman:
So not only do you have more, but you’re able to do the more involved collections, which gives you more pleasure. One thing I was curious about is, well I think we talked about this in SURTEX, we might as well talk about it again, why did you decide to go with an agent suddenly, since you had been representing yourself successfully all these years?
Tara Reed:
Yeah. I’ve thought about it different times over the years because you always wonder, “Am I spreading myself too thin trying to do it all.” But then at the same time, I have control issues. I know I can do the marketing. An agent in this industry generally takes 50% so you need twice as many jobs to make the same money. It was kind of this perfect storm of bad things that happened, that caused me to finally say, “Okay, I’m going to change everything and I’m going to go work with an agent.” My dad had Alzheimer’s and was really sick for about four and a half years before he passed away.
Miriam Schulman:
I’m so sorry.
Tara Reed:
Yeah. It was a lot of work. He and my mom moved to live near me and my brother so that we could help them. He ended up in a memory care two miles from my house. So it just really, for a couple of years, was a huge time and just emotional thing. It definitely affected my creativity. So my business suffered as a result of that. Then he passed away and so then you’re recovering from that. I stupidly thought I would be okay within about two weeks because I felt like I was pre-grieving for so long. False, false, false. If anyone’s dealing with this, false. You just get all kinds of different things that come up. Then I was just sitting in January with a friend and going, “I don’t know what I’m going to do. Thinking about getting this art started again is exciting, but thinking about having to do a booth and everything involved and all that, it just feels heavy to me.” This friend has always worked with an agent. So I was asking her a lot about, “How do you like it? Why do you like it? How’s it work?” So I decided, “You know what, I’m going to see how it works.” I put my toe in.” I’m going to answer one of your other questions while I talk about this. I had been working with Gary at Roaring Brook licensing for about three years because he’s also a publisher. So he does wall arts.
Miriam Schulman:
I see. So in other words had your own agent, you had a contract for his wall art that you had a relationship with him? Okay.
Tara Reed:
Yes. Right. We actually met teaching a class together at SURTEX called Agent or Alone. I was the example of what it looks like and why you would want to do it yourself. And he was the example of what an agent brings to the table. We hit it off so much in that class that Penny, who was the head of SURTEX at the time and moderating, started laughing and says, “I think these two are going to work together at some point.” Three years later when we did, I sent her message. I’m like, “You were right you little matchmaker.”
Miriam Schulman:
That’s awesome.
Tara Reed:
Yeah. It was a little easier because I knew him. I knew that we worked really well together. I knew we communicated really well. I knew we really enjoyed each other, just talking to each other and the communication is so key. So I reached out to him. I’m like, “Hey, if I gave you a certain number of collections and you could totally license them, no holds barred, would you give me visibility at SURTEX?”
Tara Reed:
Because I hadn’t been there the year before because my son graduated, and I felt like two years not being there at all would be bad. He was like, “Yeah, sure.” We started like that and then I just really enjoyed working with him and his team. I was like, “Okay, I’m all in. Let’s do this. Let’s do it.”
Miriam Schulman:
That’s awesome. Okay. Now I’m worried about you because-
Tara Reed:
About me?
Miriam Schulman:
… you created 30 … Not because of the agent. By the way, I met Gary at SURTEX. He’s a really nice guy. He actually lives like 20 minutes from me here in New York. I might get him to talk to me also. No, I’m worried about you because of what you said about SURTEX being in February, because you told us that you created 35 collections in this cycle. Are you planning to create 35 collections by February or are you just going to go with the flow, and what you do by February is what you do?
Tara Reed:
Yeah. I mean I’m very much a go with the flow. So sometimes it comes in spurts. I’ll get six done in a month and then the next month maybe I have more tweaking to do for clients or a vacation or something, so I don’t get as many done. It’s not like I sat down and said, “I will do these 36 between this May in next May. Just what happens.
Tara Reed:
Also, because SURTEX changing as far as timing and location and where it sits within all these other trade shows, it’s a big question mark for everyone about whether they’re going to be there.
Miriam Schulman:
Is it going to still be at the Javits Center?
Tara Reed:
Yeah. It’ll be along with New York Now Gift Show. It’s like the Atlanta Gift Show, but it’s for the Northeast. It’s a regional gift show, pretty big gift show. The stationery show is also moving. I think it’s been in May since it began like 32 years ago. It’s a huge upheaval in the industry, and it’s a huge question mark for everybody that I’ve talked to. Like, “It’s two or three weeks after the Atlanta Gift Show where a lot of us go and talk to clients. We’re not going to have that much new. Are those clients from Florida going to want to dare to come to New York “February? Are they going to want to come Superbowl Sunday?” When you’re investing that much in a show and your first day is Superbowl Sunday, that to me is a little problematic. I don’t know what will happen, but regardless of whether Gary exhibits or doesn’t exhibit in February, I will always be just creating art and continuing to build my portfolio.
Miriam Schulman:
Well, it’s not like SURTEX is the only time where he’s selling art. I mean, he has relationships with manufacturers. I’m sure he’s connecting with them all year long.
Tara Reed:
Yeah. That’s one thing that’s this a little different too about an agent. For me SURTEX was my huge event of the year. It was my huge marketing expense and my huge face-to-face event. I would also go and run around the halls and meet with clients in Atlanta in January. But otherwise it was all email, phone calls. That was one of my key face to face places. But Gary’s going to other trade shows so he’s going to the Tabletop Show or he might go to a textile show. He’s going to other trade shows where our clients are and then also sometimes visiting them in their home offices. My art is getting a lot more one-on-one attention with clients than it ever could when it was just me, myself.
Miriam Schulman:
You shared something very interesting with me when we were at SURTEX. You were saying how Gary has been very helpful, and Gary is Tara’s agent for those of you don’t remember, who’s Gary, but I was saying that Gary has been very helpful, when you create, let’s say a new collection, with giving you feedback that really helps elevate your art. Can you share an example of something like that, that’s happened recently? What feedback he gave you and how you changed your art?
Tara Reed:
Yeah, so I was telling her, to everyone listening, at SURTEX I’ll get to this level, which I know works because I’ve been doing it so long, but he’ll get me to the next level, up leveling and making it better. The first example that came to mind was I was working on a Christmas-on-a-farm collection. I had painted like two different angles of cows and a sheep and a goat and-
Miriam Schulman:
By the way there were a lot of Christmas pigs. Did you notice that?
Tara Reed:
Yes, I have a pig as well. Farm is big. The farm house look and the farm animals, also big. I had painted these really cute animals and then I put these beautiful wreaths around their neck. I varied the wreaths a little bit. One had more poinsettias, one had more pine cones or whatever, and I just thought it was fantastic and done, because I was ready to move on. Artistic ADD, I call it. “Okay, I’m done with these farm animals, let’s do something else.” I sent it to him and he was like, “This is really great but it needs a little more variety. Let’s just do a wreath on one and what else can you do? What else can you do with these animals, that’s Christmassy but doesn’t look like everybody got a wreath. It’s like giving everybody socks for Christmas.” Then it ended up that the goat was tangled up in Christmas lights. They’re wrapped all around his body and then there was a cow pulling a tree on a sled. It got more visually interesting.
Miriam Schulman:
Yeah. That’s really sounds interesting Tara, all those different ideas. That must have been a lot of fun for you too, like, “Wow, I never thought of putting Christmas lights around … ”
Tara Reed:
Yeah. A lot of times too, with almost any artist who is working out of a home studio, it’s a very isolated type of work. I kind of like it. I’m alone a lot and I have a lot of friends online, like you. I feel very connected to a lot of different people through social media, but sometimes you just need that back-and-forth that’s a little more personal and the conversations, to just really keep you excited and keep you moving forward, to do what needs to be done, to really hit the mark for the art.
Miriam Schulman:
Do you feel like your agent holds you accountable or you feel like that motivates you, because you know that he’s waiting for things? Is that helpful? Is that another reason why you’ve been more productive, do you think, because somebody is for it?
Tara Reed:
No. I’ve never really needed an accountability partner because I’m very driven with it. A lot of times it’ll be email back and forth, but every once in a while, I’ll reach out like, “Hey, can we have a phone call? Can we talk?” And so whenever we’re able to get on the phone and either just be talking about the business or talking about trends or talking about specific art, that really gets me more excited and then I start moving even faster. Sometimes he just has to keep up.
Miriam Schulman:
That’s great.
Tara Reed:
You can ask him about that.
Miriam Schulman:
I will, hopefully. He hasn’t-
Tara Reed:
It’s our joke.
Miriam Schulman:
… maybe editing this part out if he doesn’t come through, there’s some other agents-
Tara Reed:
… buckle up Gary. I’m on a roll.
Miriam Schulman:
So where should people go and find you now? I know you don’t teach it, but what do you want to get out of this? You want people to start following you on Instagram? Where should people come and find you, Tara?
Tara Reed:
Yeah, Instagram is kind of the playground I like the most now. @artisttarareed, all one word. T-A-R-A-R-E-E-D.
Miriam Schulman:
I will put a link to that on the blog where the show notes are. Thank you so much for joining me, Tara. This was so much fun. I had so much fun talking to you.
Tara Reed:
Oh, I can talk about art and art licensing for days, so very fun. Thank you.
Miriam Schulman:
Yeah. Awesome. Okay. All right, so there you have it. If you’re interested in hearing more about Tara, you can find links to her website and all her social media accounts in the show notes at schulmanart.com/9. Finally, to wrap this all up, I’ve got a question for you. Are you subscribed to my podcast? If you’re not, I want to encourage you to do that right away. Right this minute. I have been brewing up some really amazing special-guest episodes, and I’m also going to start adding some solo mini trainings that I don’t want you to miss.
Miriam Schulman:
If you want to be notified every time I drop a new episode, including these bonus episodes, make sure you subscribe to my podcast, as you won’t want to miss any of these. If you have an Apple device, go to schulmanart.com/itunes, hit the purple subscribe button. But you can also find the Inspiration Place podcast on all major podcast directories including Stitcher, Spotify, and Google Play.
Miriam Schulman:
Thanks so much for being with me here today. I will see you the same time, same place next week. You’re not going to want to miss it because next week I’m having Tara’s agent, Gary Levine, come and dish out what it’s like from the agent point of view. In the meanwhile, have an inspirational week.
Thank you for listening to the Inspiration Place podcast. Connect with us on Facebook at facebook.com/schulmanart, on Instagram @schulmanart and of course, on schulmanart.com.
Subscribe & Review in iTunes
Are you subscribed to my podcast? If you’re not, I want to encourage you to do that today. I don’t want you to miss an episode. I’m adding a bunch of bonus episodes to the mix and if you’re not subscribed there’s a good chance you’ll miss out on those. Click here to subscribe in iTunes!
Now if you’re feeling extra loving, I would be really grateful if you left me a review over on iTunes, too. Those reviews help other people find my podcast and they’re also fun for me to go in and read. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what your favorite part of the podcast is. Thank you!