{"id":2047,"date":"2016-03-27T20:01:04","date_gmt":"2016-03-27T20:01:04","guid":{"rendered":"http:\/\/filleveryseat.com\/?page_id=2047"},"modified":"2025-09-23T12:37:56","modified_gmt":"2025-09-23T12:37:56","slug":"home-2","status":"publish","type":"page","link":"https:\/\/filleveryseat.com\/filleveryseat\/","title":{"rendered":"HOME"},"content":{"rendered":"

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When Fill Every seat was launched in 2016, the 500 copies of were gone and the book sold out in six months.<\/span><\/p>\n

<\/br>With the 10th anniversary, it\u2019s time to make an updated second edition.<\/span><\/p>\n

<\/br>Pre-order today, and you will be among the first to receive Fill Every Seat \u2013 EVERY Week, Second edition in your mailbox!<\/span><\/p>\n

<\/strong>
\n[\/vc_column_text][vc_column_text]I got Fill Every Seat at the book launch in April 2016 and gave it to our marketing manager two days after I arrived home. She read and we implemented 2 or 3 of the core ideas for the following season. It was very successful and we have never had as many subscribers in all our history. Very helpful. I now have a new marketing manager and the first thing I did was give him your book. Your book gives the necessary overall structure and direction for our marketing.<\/em><\/span><\/p>\n

[\/vc_column_text][vc_column_text]Kristjan Hallik<\/span>
\n General Manager and Member of the Board<\/span>
\n Estonian National Symphony Orchestra ERSO<\/span>
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Foreword by Robert C. Jones<\/h6>\n\t\t\t

Former CEO of the Indianapolis Symphony Orchestra, Opera Pacific, Washington DC National Symphony Orchestra, and VP Music John F. Kennedy Center for the Performing Arts.<\/p>\n

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Introduction: The Traditional, Fixed Subscription Model Is Alive and Well<\/h6>\n\t\t\t

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Chapter 1: My Own Journey Into The World Of Subscriptions\u2013 And Why They Are Important<\/h6>\n\t\t\t

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Chapter 2: Is It Still Possible To Sell Subscriptions?<\/h6>\n\t\t\t

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Chapter 3: The Audience Member Life Cycle<\/h6>\n\t\t\t

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Chapter 4: Eight Different Kinds of Subscriptions<\/h6>\n\t\t\t

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Chapter 5: Fundamentals for Success<\/h6>\n\t\t\t

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Chapter 6: Five Practical Marketing Steps<\/h6>\n\t\t\t

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Chapter 7: What Subscribers Say<\/h6>\n\t\t\t

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Chapter 8: Can Everyone Run a Subscription Series?<\/h6>\n\t\t\t

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Chapter 9: How to Manage the Downside<\/h6>\n\t\t\t

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Chapter 10: The Big Picture 1: Balancing The Arts Management Mixing Board<\/h6>\n\t\t\t

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Chapter 11: The Big Picture 2: Subscriptions Are About Much More Than Subscriptions<\/h6>\n\t\t\t

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This book is dedicated to<\/h6>\n\t\t

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all the hardworking people in the arts,
\nboth on and off stage, and to the audiences we serve,
\nwho give purpose and meaning to our work.<\/h6>\n

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Magnus Still is the CEO and Head Project Manager of StillArt Limited, as well as Chairperson of StillArt\u2019s Subscription Advisory Board. Founded in 1992, StillArt has worked continuously within various aspects of the performing arts industry, but now with a highly specialized focus on subscription growth. Utilizing StillArt\u2019s proprietary Subscription Builder process, Magnus has built a solid track record of growing audience numbers across numerous organizations. Magnus is the author of the books Effective Marketing by Classical Music Promoters (2006) and Fill Every Seat \u2013 EVERY Week (2016).<\/span><\/span><\/p>\n

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Argovia Philharmonic, Switzerland<\/div>\n\t
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350<\/span>%<\/div>\n\t\t
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Bergen Philharmonic Orchestra, Norway<\/div>\n\t
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95<\/span>%<\/div>\n\t\t
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Gothenburg Symphony Orchestra - The National Orchestra of Sweden<\/div>\n\t
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20<\/span>%<\/div>\n\t\t
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G\u00e4vle Symphony Orchestra, Sweden<\/div>\n\t
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300<\/span>%<\/div>\n\t\t
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Helsingborg Symphony Orchestra, Sweden<\/div>\n\t
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25<\/span>%<\/div>\n\t\t
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Lule\u00e5 House of Culture, Sweden<\/div>\n\t
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250<\/span>%<\/div>\n\t\t
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Netherlands Symphony Orchestra<\/div>\n\t
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100<\/span>%<\/div>\n\t\t
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Swedish Radio Symphony Orchestra and Choir<\/div>\n\t
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50<\/span>%<\/div>\n\t\t
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Tapiola Sinfonietta, Finland<\/div>\n\t
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40<\/span>%<\/div>\n\t\t
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The Residentie Orkest, The Netherlands<\/div>\n\t
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Tonhalle D\u00fcsseldorf, Germany<\/div>\n\t
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Vara Concert House, Sweden<\/div>\n\t
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110<\/span>%<\/div>\n\t\t
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“The work we have done with Magnus Still has been compelling across all Tonhalle departments. The system is logical, easy to understand and practically oriented, and the ongoing support of Magnus is very attentive and cooperative. The initial results of our subscription collaboration have already resulted in an increase of 70% in subscriptions and 35% in concert visits, which is immensely gratifying for all parties involved: the backstage crew, the artists and the finances.”<\/em><\/p>\n

Michael Becker, Intendant Tonhalle D\u00fcsseldorf D\u00fcsseldorfer Symphoniker<\/strong><\/p>\n

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“The StillArt approach is just what arts organizations need at this time. It\u2019s pragmatic, innovative, trustworthy, and driven by a genuine desire to share the thrill of great performances with more people. And they produce the goods! With my personal experience of working with them, I am very happy to offer recommendation. Their work with the GSO encouraged us to think creatively, challenge our thinking, and dared us to do things differently.”<\/p>\n

Ed Smith Managing and Artistic Director Gothenburg Symphony Orchestra CEO of the City of Birmingham Symphony Orchestra CEO of Toronto Symphony<\/strong><\/p>\n

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“I have read two truly life-changing books. The first was Michael M. Kaiser\u2019s The Art of the Turnaround, the second Magnus Still\u2019s Effective Marketing by Classical Music Promoters. I am very excited to learn that Magnus is writing a new book on his very special competence area of subscriptions.”<\/p>\n

Rikkert Kremer Former Manager Marketing & Communication and Manager General Affairs, The Hague Philharmonic Orchestra<\/strong><\/p>\n

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“The major benefit of having a lot of subscribers in the hall is (1) you can plan long term, (2) you don\u2019t have to worry about sales figures for each individual concert, (3) the word of mouth subscribers spread. Well I could say 4, 5 etc \u2026 It gives us a very well planned marketing department. AND it also gets us good sleep at night.”<\/em><\/p>\n

Urban Ward Communication Director Gothenburg Symphony Orchestra<\/strong><\/p>\n

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“I have followed Magnus Still\u2019s work for many years and have collaborated with him on subscription growth on two big projects with different orchestras. The result has been above and beyond expectations. Still\u2019s system is simple but well balanced and efficient. Just what we all need.”<\/em><\/p>\n

Helena Wessman General Manager at Berwaldhallen \u2013 Swedish Radio Symphony Orchestra and Choir, Former CEO and Artistic Director at the Gothenburg Symphony Orchestra<\/strong><\/p>\n

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“We are currently working our way through StillArt’s extensive mapping process. What gives me confidence that this collaboration will be of value is based not only on their clear competence, but also in their genuine interest in and understanding of how our organization actually works. Knowing that we will only compensate for actual results also makes me feel as if we are truly on the same team.”<\/p>\n

Katrin Winkelmann Marketing, Finance and Communication, Berlin Radio Symphony Orchestra<\/strong><\/p>\n

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“After 36 plus years as a CEO and another 10 years as a COO to symphony orchestras and operas, my recommendation is to skip conferences and workshops for the next three years, and instead put the time and effort toward a StillArt collaboration.”<\/p>\n

Robert C. Jones Former CEO of the Indianapolis Symphony Orchestra, Opera Pacific, Washington DC National Symphony Orchestra, and VP Music John F. Kennedy Center for the Performing Arts, current StillArt Senior Advisor<\/strong><\/p>\n

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