March 7, 2025 • 43 mins
Leading EK Editorial & Coaching, Elise Krentzel's narrative expertise has developed over a 35-year entrepreneurial career in music, media, and publishing globally. By collaborating with our clients, we create books and content that reflect their ethical visions and societal contributions. With a focus on editorial services that include ghostwriting, the Write Like a Rebel online writing course, book coaching, editing, and publishing, our services resonate with business leaders eager to share their impactful stories, including those they don’t yet know exist.
At EKPR, strategic creative direction merges with effective communication to enhance brand identities through compelling executive storytelling. My experience in creative direction and writing helps me forge meaningful connections between clients and their audiences, ensuring their stories resonate and endure in books, speeches, press releases, and commercials.
"Under My Skin: Drama, Trauma, & Rock 'n' Roll" starts Elise's memoir trilogy. "Rogue Entrepreneur - Her Memoir" is set to drop in late spring. She is a poet, culture journalist, and itinerant traveler, as well as a proud mother of one son. She lives in Austin, TX.
https://www.elisekrentzel.com/
Become a supporter of this podcast: https://www.spreaker.com/podcast/inspiring-stories--2917948/support.
At EKPR, strategic creative direction merges with effective communication to enhance brand identities through compelling executive storytelling. My experience in creative direction and writing helps me forge meaningful connections between clients and their audiences, ensuring their stories resonate and endure in books, speeches, press releases, and commercials.
"Under My Skin: Drama, Trauma, & Rock 'n' Roll" starts Elise's memoir trilogy. "Rogue Entrepreneur - Her Memoir" is set to drop in late spring. She is a poet, culture journalist, and itinerant traveler, as well as a proud mother of one son. She lives in Austin, TX.
https://www.elisekrentzel.com/
Become a supporter of this podcast: https://www.spreaker.com/podcast/inspiring-stories--2917948/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Thank you for listening to the picture of the radiant.
Speaker 2 (00:26):
Rat. You readything to me? Oh well, well say, oh well,
(00:57):
not bad.
Speaker 3 (01:01):
So agitate, solipassion, music.
Speaker 1 (01:28):
As events, leading e K, editorial and coaching eleaset. Crenchell's
narrative expertise has developed over a thirty five year entrepreneurial
(01:52):
career in music, media and publishing globally. By collaborating with
our clients, we create books and content that reflect their
ethical visions and societal contributions. With a focus on editorial
(02:15):
services that include ghostwriting the right like of rebel, online
writing course, book coaching, editing and publishing. Our services resonate
with our business leaders eager to share their impactful stories,
(02:37):
including those they don't know as even exist. At EKPR,
strategic creative direction merges with an effective communication to enhance
(02:57):
brand identities through compelling executive storytelling. My experience in creative
and direction and writing helps me forge meaningful connections between
clients and their audiences, ensuring their stories resonate and endure
(03:21):
in books, speeches, press releases, and commercials. So at least also,
I've read read a bio that that she actually said
to me, and it's pretty descriptive I thought. And she
also has a memoir and uh in other books that
(03:45):
she has put out under My Skin Drama, Trauma, and
Rock and Roll, and that's promising to be a memoir
trilogy along with The Rogue Entrepreneur and is set to
drop in late spring. She is a poet and cultural journalist.
(04:11):
She is a great traveler of around the world and
has lived in several different countries, even though she grew
up in New York City and she currently resides in Austin, Texas.
So a Lisa has been around the world and if
you work with her, I promise that you will find
(04:34):
a great level of success. So why don't we bring
Elise onto the show and let's see what she has
to say about herself, because she is quite the dynamic personality,
and well I told her this in person. I really
get a kick out of her sense of style. That's
(04:55):
pretty cool. So let's bring her on the show and
the listen to Elise something.
Speaker 4 (05:31):
Good morning, Elise, and welcome to the show, Thanks so much, Michael.
Ghost Writing is like like this really valuable tool for me.
I have my own, I have a copywritor that I use.
She's also a ghostwriter. And because I am personally I'm
(05:51):
extremely dyslexic. And if I was to write something for you,
you look at it and with with your you could
you use that tool of developmental ending rate? Yes, and
you look at it like, where the heck is he
going with this? Where's the structure? All that kind of stuff.
It's just kind of all over the map. So I
(06:13):
applaud those of you who do this work tremendously. It's
it's like it's a very valuable thing to get people's
stories out there.
Speaker 5 (06:26):
I agree. I agree.
Speaker 4 (06:28):
So how did you decide you were going to even
start being a writer to begin with? Because you've got
some stories to tell about where you've been in the
world because of your writing.
Speaker 5 (06:39):
I sure do well, if we're going to start at
the beginning. A series of unfortunate events happened within my
family that led me to write start writing in a
diary when I was about nine years old. Oh, I
(07:00):
started writing, not in any comprehensible way, with a really
poor vocabulary. However, I started writing down my feelings and
that led to poetry. And because I also loved music
and played classical guitar on a Gibson and collected music
and came from a somewhat musical family. By the time
(07:24):
I was fifteen, I had this two thousand LP collection.
I woke up one day I had an AHA moment,
and I said, you know what, You're going to be
a music journalist. I just realized, Wow, I can combine
the two things that I love. This was back in
(07:46):
the day before the internet, before cell phones. So I
went to my poetry teacher in high school and I
told him about my AHA moment, and he said, Okay,
I'm going to help you write a pitch letter to
magazines because you're a great writer. He loved my poetry.
I had a one hundred average in my poetry class
(08:10):
and I failed math. So I was really clear on
the trajectory of where I wanted to go. After about
a year and a half, I finally got a yes
and was published in Circus magazine while I was still
(08:32):
in high school. That was one of the leading rock
magazines of its day.
Speaker 4 (08:40):
Yeah I remember Circus, Billboard, Rolling Stone.
Speaker 5 (08:47):
Yeah.
Speaker 4 (08:48):
Yeah.
Speaker 1 (08:48):
Okay.
Speaker 5 (08:49):
So now I'm still in high school, I'm writing these
reviews and I go to Europe when I'm sixteen on
a so called teen tour that they had those then,
and it just so happened that while I was in France.
I don't know how this happened, but it happened that
(09:09):
I met the lead punk rocker and I interviewed him,
Plastic bertrand he had a one hit wonder worldwide sasplan Pausmois.
So this was in the seventies, so I was just
bowled over. Then I'm in the Netherlands and I meet
(09:32):
Golden Earring again. I don't even know how this is
mysteriously happening. I'm not asking anybody to meet these musicians.
I meet them, whether at a club, I don't even remember.
So I interviewed Golden Earing. They had that hit song
Radar Love. So now this is now confirming to me,
(09:57):
like all the stars are aligned, and okay, you're going
to be a rock journalist. So great. I get back
to the States, I start doing some part time jobs
I'm working, and then one day, oh wait, I forgot
in so doing. I realized, Wow, there's so much competition,
(10:21):
especially in New York City where I grew up. How
am I ever going to position myself to become someone
in this business. I figured the only way to do
that strategically, thinking was to become the New York correspondent
for Canadian and British trade and consumer magazines. Nobody wanted
(10:49):
that position. There was a magazine from Calgary called Record Week.
I became their New York correspondent. There was a trade
magazine in Toronto call Performance Magazine. I became their New
(11:09):
York correspondent. And then there was Melody Maker, and I
was one of several freelancers. Now I'm doing this and
now I'm all. The doors are flying open. I have
access to everyone I want in the business. And I
get a phone call from the manager, the PR manager
(11:33):
of Kiss. They said, we are going on tour to Japan.
We'd like you to be one of ten journalists that
we are inviting on their Japan tour. And first of
all I said no, I don't like the band. And
(11:55):
then a series of events happened over the next couple
of weeks where everything Japan was in my purview. I
had an interview with Paul Simon at a Japanese restaurant.
I walked down Broadway there was an awning for a
Broadway show called Pacific Overtures. It was about Japan's rise
(12:17):
after World War two, Like, Okay, I'll say yes if
they call me. They did, I said yes, and I
asked them, why me. I'm not anybody. I'm just an
up and coming freelance journalist. Oh well, our tour after
Japan is Canada. We want you to write the publicity
(12:40):
for the tour. Oh so, tour Japan, and I reported
on the tour. Fast forward. After that, I wound up
staying in Japan for five years and became the first
(13:01):
foreign and female bureau chief for Billboard magazine.
Speaker 4 (13:07):
And this is like nineteen eighty or so. Yeah, wow, wow, yeah,
And then I probably read some of you, some of
your articles.
Speaker 3 (13:20):
Yeah.
Speaker 5 (13:20):
I mean, if you go into the archives of Billboard
in nineteen eighty, yes, it's still there, absolutely.
Speaker 4 (13:28):
Yeah, because it was one of my favorite as a teenager.
Is one of my favorite magazines.
Speaker 5 (13:37):
Yep, the top one hundred.
Speaker 4 (13:39):
Yeah, yeah, that is one heck of a story. Sod.
Where did you go from there?
Speaker 2 (13:50):
Well?
Speaker 5 (13:51):
From there? I While I was in Japan, I did
quite a number of things because I was in a
unique position. I worked for a company for one year,
and that company was the leading music publisher and publisher
of three or four magazines Shinko Music. They also had
(14:13):
radio production, they had access to the whole industry, so
I worked for them. I learned the ropes for one year,
and then I started my own company in Japan again
first female foreigner to have a company, and I introduced
punk rock to the Japanese market and we had a
(14:33):
promotion agency and publishing a sub publishing company. So I
did that for a couple of years and then decided,
at the ripe old age of twenty five that I
don't like the music industry anymore.
Speaker 4 (14:49):
This is it.
Speaker 5 (14:50):
I'm done. Went back to the States on the invitation
of Rocky Aoki, Benny Hannah Restaurants chain, and I started
doing promotions. I went back to New York, I started
doing promotions for Japanese companies, experiential marketing, publicity for several brands.
(15:19):
Did that for a couple of years, and one of
the last projects before moving to Switzerland was the introduction
of Wacol Lingerie on the East Coast, where I met
this musician composer who was working in Midi and m
(15:40):
Idi Midi as well as CGI, which was brand new
at the time this is like late eighties, and he
introduced me to the field of multi media. So I
jumped all over that because I've always liken myself to
(16:03):
the future. I love all creative technological advance is that
that are not harming people, right, that are that are
enhancing our lives. Well, the long, long and short of
that is that that that man and I went into
(16:24):
a partnership initially producing CD CDI and cg ram software
about travel, and we got married. We were also partners.
(16:45):
We are living in Switzerland, and then I decided, this
is like, let's make this something more concrete than just
a production company. I had bigger dreams. I wanted a
publishing house. I wanted a digital publishing house. So in
nineteen ninety two I started thinking about how can we
(17:08):
monetize this and create a digital publishing company produce CD
ROMs about travel. This is pre internet still, so I
raised capital from a Dutch company which was the largest
magazine group in Europe B to B magazine group. Yeah,
(17:33):
they invested in our company. We already had prototypes and
we moved. We had a small team, like with some
engineers and data people. I did everything business wise, from
distribution to marketing to sales to product development with the team.
So We raised a couple of million dollars in venture capital,
(17:57):
moved up to the Netherlands and had our company called
bop Media travel guides across Europe which were delivered on
c d rum with GPSS pre internet. Yeah, we put
out guides of Paris, London, Amsterdam, Berlin. It was just amazing,
(18:24):
amazing product. Then I sold my shares. Then I moved
to the South of France. Then I wrote my first book.
It's not published, but I wrote my first book. And
there's more asked me some questions, it's more and more
(18:44):
and more.
Speaker 4 (18:46):
So the book isn't published. What's he going to take
to get it published?
Speaker 5 (18:51):
Well, look that was also this is still in the
nineties where you go around, you send it to an agent.
Speaker 4 (19:00):
And yes remember all that.
Speaker 5 (19:04):
Yes, yeah, I was like, no, I'm not going to
waste my time continuing doing this down down a rabbit hole.
Speaker 4 (19:10):
That no.
Speaker 5 (19:11):
So I moved on to my next projects.
Speaker 4 (19:18):
So because kind of in an intro we talked about
you being a marketing strategist and things like that, and
you just you just gave a lot of proof, a
lot of putting approof.
Speaker 5 (19:33):
Well, the thing is that what's interesting is that writing
has always been the basis the effectation because even as
a publisher of those travel guides, I created an editorial team,
a digital editorial team all over Europe trained them. They
(19:55):
had never used a laptop, these writers. Yeah, we created
pre twitter fields where they would write about sites, restaurants, hotels,
events in a hundred words or less. They didn't know
(20:20):
how to write like that. So I had to give
them the example. I had to train these people. And
these were professional writers from places like Time Out magazine.
Speaker 4 (20:30):
Well, there's a difference between writing a long form article
in then writing a blurb. Yes, forty characters is a blurb.
Speaker 5 (20:41):
Right, Well it was a little more, but still, yes,
it was a blurb.
Speaker 4 (20:46):
Yeah.
Speaker 5 (20:47):
Yeah, So.
Speaker 1 (20:51):
You know, and.
Speaker 4 (20:54):
You know, you've got to be way more focused. I
say this because we have to stay focused when we
do like the movie short, right, you have where the
long form is ninety minutes. Now you've got to tell
that seeing Zach story in twenty minutes. You got to
(21:15):
stay focused. You got to stay on track. And that
takes a lot more well, a lot of different kind
of planning and thought, doesn't it.
Speaker 5 (21:26):
Yes, yes, which is interesting because for example, in my
memoir under my skin, drama, trauma, and rock and roll.
It's very short. That's book one in my trilogy. It's
about one hundred ninety six pages, kind of short, very
(21:49):
fast read. Sentences are short and concise, yet very visual.
So in other words, that kind of writing I attript
you to like writing a rap song. Yeah, rap and
hip hop are telling stories. Those are visual stories. Yeah.
Speaker 4 (22:13):
Well absolutely, even even from the very beginning of it.
One of my more favorite and it was also a
very popular song in especially in the United States. It
was was white Lines where they were talking about the
(22:34):
trail of destruction that cocaine leaves.
Speaker 5 (22:37):
Yeah.
Speaker 4 (22:40):
Yeah, it's storytelling.
Speaker 5 (22:43):
It definitely is. It's raw.
Speaker 4 (22:49):
Mm hm.
Speaker 5 (22:51):
Anyway, that's why I like that music because it it's
it's raw and for the most part, uncensored.
Speaker 4 (22:59):
I alluded to something earlier, and I think we should
discuss your editing process because well.
Speaker 5 (23:10):
Yeah, so editing is one of the services that I offer.
I ghost write. And when I say ghost write, like
a lot of people say they're a ghost writer, I
am using the traditional term. I write and co write
other people's books. Yeah, okay, so that's what I do.
(23:34):
I act as their muse, as their eyes, their ears,
their voice. I also do developmental editing. Now what is that?
That's taking a ten thousand foot view the big picture.
You're reading the manuscript and you are analyzing it for inconsistencies,
(23:57):
structural logic, flow, cohesiveness, Does it make sense? Do wear
the redundancies? If any does part a paragraph ten, page
thirty seven belong on one hundred and forty, does it
(24:18):
need to be reworked flushed out. That's basically what you're doing,
and it results in an editorial report, if you will,
a couple of page report for the writer to then
go back and work it, work it again.
Speaker 2 (24:41):
Right.
Speaker 5 (24:43):
Then I have a team that helps with the line editing,
the proofreading, formatting, which then goes into post production of
actually self publishing a book.
Speaker 4 (24:54):
Yeah, I get where you're going with that. I actually
laid out a calendar for from a series of photographs
from a tour that I should say a walk I took.
It was almost fifteen hundred kilometers wow, across the rockies
(25:19):
and everything right with this group. So I've edited it
this or put together this calendar with photographs and different
things like that, and the formatting to make it actually
look like it's supposed to look in comparison to I've
seen some self published books. It's like, oh, I see
(25:39):
you self published?
Speaker 5 (25:41):
Yeah, well.
Speaker 4 (25:45):
Right, right, so it's quite the arduous process.
Speaker 5 (25:53):
If yes, you know, look, there's no accounting for bad
taste ever since people could start self publishing or using photoshop.
That doesn't mean they're an artist. It doesn't mean they're
a writer. It just means they have some tools. They've
written a story, and there's lots of typos and grammatical errors,
(26:17):
and some of them they can't even write in English.
I don't mean that it's a second language. I mean
it's a first language. Right, So, okay, on the plus side,
express yourself.
Speaker 2 (26:34):
On the.
Speaker 5 (26:36):
Minus side, this is not a professional piece of art.
You have both and everything in between.
Speaker 4 (26:50):
So how do you get polished that out? For somebody
who's seriously what's to be known seriously but their book
to be known serious? How do you polish that out?
Speaker 5 (27:03):
Well? We have professional services, our formatting My formatting team
is professional. These are writers and editors and people from
the publishing industry that have gone out on their own,
who've been working and publishing for over twenty years. That's
(27:24):
number one, number two in terms of promoting, because that's
yet another aspect, the promotional part, the marketing, that's yet
another service. And it doesn't mean that everybody will be
a best selling author. Marketing these days, whether you're a filmmaker,
(27:46):
a photographer, an author, any type of artist, it's part
and parcel to your work. You cannot just be an artist.
If you don't market yourself in today's world, you will
not be known.
Speaker 4 (28:02):
No.
Speaker 5 (28:04):
And even if you do market yourself, look at social media,
everything is so dispersed that it's an organic consistent process.
Speaker 4 (28:18):
Like what you just said there, you said it's organic
consistent because it doesn't matter. There's all these these guys
that didn't want to say all these different things, the
tricks to this and I know, the trick to making
your your your bingo viral, blah blah blah, and it's
(28:40):
in its noise.
Speaker 5 (28:42):
There are no tricks to anything. And if you're selling tricks,
then that's how you're making money, not because you actually
made money in the industry you're talking about. It's just
like those shysters, hey make a million dollars with real estate,
come to a seminar. They never made a million dollars
(29:03):
in real estate. They're making their money by selling these
things at a seminar exactly, And so it's the same
exact thing you're talking about.
Speaker 4 (29:15):
Yeah, yeah, we do on occasion ourselves do a couple
of marketing tools, a few corporate documentaries, you know. But
and then people are like, like, well, why don't you
just show start shooting with the with the camera and
(29:37):
start recording our stuff. It's like I said, no, we
need to slow down and figure out who you want
to aim it at.
Speaker 5 (29:44):
Who you what the goal is exactly exactly. That's that's
the same thing I tell my authors that like, well,
here's my book, Well, who's your audience? Who is this too?
Why do you have that? Did you did you register
(30:04):
URL under your name or under the book's name? Maybe
it's too long that book name. There's so much to it.
Speaker 4 (30:16):
Yeah, a lot of steps. So how do you how
do you walk your clients to do the steps so
that so that they see the value in each and
every step.
Speaker 5 (30:27):
Well, either, first of all, I don't walk them through it,
so they decide prior do they want to do it
or do they want to hire my company to do it,
in which case they can have a Q and A
(30:48):
with me. We have Zoom calls and I basically send
them a list of instructions for what they have to
do to contribute. But mostly it's an iterative process when
they hire my company and it's a back and forth.
(31:10):
So for example, if I'm helping them with their KDP
Amazon upload, well they have to have an Amazon.
Speaker 4 (31:19):
Account, yeah, step one.
Speaker 5 (31:23):
But if they don't, which I've worked with people that don't,
it's setting that up. It's finding the keywords inside Amazon
to register your book.
Speaker 4 (31:37):
Yeah, that makes sense.
Speaker 5 (31:41):
It's putting it on sale maybe so that it goes
to number one for a day. There are there are
many ways, and either people can do people that don't
know this don't want to do it themselves, and I
don't do it themselves. No, And I also don't want
(32:02):
to work with people that want to do it themselves.
Speaker 4 (32:07):
That's not why you want to do it all for them.
Speaker 5 (32:11):
Yes, right, okay. There are other people that like coaching
on that kind of thing. I don't do that. I
have a book coaching course or an online course that
people can download. But the book coaching is a twenty
week series where I work very closely via Zoom with
(32:32):
my authors on how to structure and write their book,
and I guarantee you after twenty weeks they're going to
have a two hundred plus page book. Everyone who's worked
with me is committed and therefore they will have their book. No, it's.
Speaker 4 (32:58):
It's the we'd assume you have this process to weed
out the the tire kickers, the flake all saw.
Speaker 5 (33:07):
The Yeah, yeah, of course you have to have that
in any business.
Speaker 1 (33:18):
Is it.
Speaker 4 (33:20):
Do run into this where people are like, well, you're
so expensive, you could lower your pranks.
Speaker 5 (33:28):
No, no, they're not your client. Obviously they don't.
Speaker 4 (33:35):
They don't have they don't see the value in in
in the in the process that it takes to.
Speaker 5 (33:42):
Make right work, and therefore they're not your client. Right yep.
I mean people people that don't go into a doctor's
office and start negotiating with a doctor. Oh no, I'm
not going to pay four hundred and fifty. Well in Canada,
(34:02):
of course it's different. In most of the world it's different.
But in the US you're not negotiating prices.
Speaker 4 (34:10):
No, you're not prices. Let's put it. Let's uh for
the world of Canada versus the US, it's not uh,
it's not negotiating. People try to negotiate the service that
they're going to get. It's like, oh, I don't want
(34:32):
I don't want that, I want this. Well, yeah, that
I'm the doctor. I know that you need this, this,
and this, and you can't leave those steps out. And
it's the same for you. I would assume that when
a client says this is what this is what I want,
this is my then you tell them, then you we
(34:54):
need to talk about this, this step and and all
it takes to get them to that goal. If they're
working with you because you because they admire your success,
the na should follow follow the pattern that you're giving them.
Speaker 5 (35:12):
I think that's how it normally goes. If you're hiring
someone who can be a mentor to you and you're
not going to follow them, then you're slapping your own face. Yes, look, granted,
(35:35):
there are always people that think they know better than you.
There are there are people like that. Yeah, and you know,
let them think that I let them go off on
their bed self, go off all right, and then I say,
and so what do you think about doing this? Let
(35:59):
them think that they came to the conclusion. Fine by me.
The result is the same, right, and men have a
tendency to do that more than women.
Speaker 4 (36:15):
Hey, yes I'm saying this in public. Yes, we are
the weaker sex.
Speaker 5 (36:21):
I don't know if it's weaker, it's just more adamant
about certain things, like Okay, we'll do it that way,
even though it's my way.
Speaker 4 (36:36):
I don't know how many times everybody knows that that
I've been married a number of years to and yeah,
it's a She looks at me and says, well, I
told you to do it that way to begin with.
Now you're doing it. It's see it works out.
Speaker 5 (36:57):
Well, I don't say I told you so us that
would never work. That would never work with my clients,
So I don't say it.
Speaker 4 (37:06):
No, they may not work with they may not work
with the clients, but you. But sometimes you're thinking, I'm
gonna ask you a really hard question because you're running
out of time, and okay, the best ways to get
a hold of you and contact me be work with you.
We'll get to that part. If you could create the
(37:31):
most beautiful world possible, what would it look like to you?
Speaker 5 (37:37):
The most beautiful world? Yeah, it would be one where
all there were no borders, there was no poverty, because
there is enough energy and food, which already is. It
(37:59):
does exist where there were no wars because people would
not people would look upon war and killing as something
grotesque and inhumane, which it is in my opinion, and
(38:23):
would be authentically confident enough to show there they're they're themselves.
Speaker 4 (38:38):
Best ways to get ahold of your work again.
Speaker 5 (38:43):
At least Crensell dot com go to my website. Do
they need the spelling? Now you'll put a little thing.
Speaker 4 (38:54):
So they can get it appear as a link.
Speaker 5 (38:58):
Okay, yeah, so on my website or on LinkedIn.
Speaker 4 (39:04):
Yeh yeah, because you offer a lot of success to
people if they if they want, want to take it.
Speaker 5 (39:17):
So yeah, good way of putting it.
Speaker 4 (39:24):
So, as I said in the in the intro, if
you want your story to actually turn into something that
can can help your business grow, give you a bigger
impactor on your community. Whatever your goal is. Positive goal
is work with the lease and and just watch your
(39:50):
your life h change and you'll you'll find the find
a lot of its success to release. So yeah, so
at least crinchel dot com rae yes, yeah, so ah,
thanks for speaking with us today. It's been wonderful.
Speaker 5 (40:13):
Thank you, Michael, thank you for your time. I appreciate it.
Speaker 4 (40:18):
Thank you everybody for listening today, and we'll talk to
you next time.
Speaker 2 (40:25):
Help.
Speaker 4 (40:48):
I don't know.
Speaker 5 (41:02):
That this is days.
Speaker 1 (41:10):
A reason to be.
Speaker 3 (41:18):
Sad.
Speaker 2 (41:18):
Me back Little Choice SHOs. We can't t.
Speaker 5 (41:28):
Wait, so.
Speaker 3 (41:34):
Will.
Speaker 1 (42:48):
The show has been produced by Depictions Media. Please contact
us at depictions dot media for more information
Thank you for listening to the picture of the radiant.
Speaker 2 (00:26):
Rat. You readything to me? Oh well, well say, oh well,
(00:57):
not bad.
Speaker 3 (01:01):
So agitate, solipassion, music.
Speaker 1 (01:28):
As events, leading e K, editorial and coaching eleaset. Crenchell's
narrative expertise has developed over a thirty five year entrepreneurial
(01:52):
career in music, media and publishing globally. By collaborating with
our clients, we create books and content that reflect their
ethical visions and societal contributions. With a focus on editorial
(02:15):
services that include ghostwriting the right like of rebel, online
writing course, book coaching, editing and publishing. Our services resonate
with our business leaders eager to share their impactful stories,
(02:37):
including those they don't know as even exist. At EKPR,
strategic creative direction merges with an effective communication to enhance
(02:57):
brand identities through compelling executive storytelling. My experience in creative
and direction and writing helps me forge meaningful connections between
clients and their audiences, ensuring their stories resonate and endure
(03:21):
in books, speeches, press releases, and commercials. So at least also,
I've read read a bio that that she actually said
to me, and it's pretty descriptive I thought. And she
also has a memoir and uh in other books that
(03:45):
she has put out under My Skin Drama, Trauma, and
Rock and Roll, and that's promising to be a memoir
trilogy along with The Rogue Entrepreneur and is set to
drop in late spring. She is a poet and cultural journalist.
(04:11):
She is a great traveler of around the world and
has lived in several different countries, even though she grew
up in New York City and she currently resides in Austin, Texas.
So a Lisa has been around the world and if
you work with her, I promise that you will find
(04:34):
a great level of success. So why don't we bring
Elise onto the show and let's see what she has
to say about herself, because she is quite the dynamic personality,
and well I told her this in person. I really
get a kick out of her sense of style. That's
(04:55):
pretty cool. So let's bring her on the show and
the listen to Elise something.
Speaker 4 (05:31):
Good morning, Elise, and welcome to the show, Thanks so much, Michael.
Ghost Writing is like like this really valuable tool for me.
I have my own, I have a copywritor that I use.
She's also a ghostwriter. And because I am personally I'm
(05:51):
extremely dyslexic. And if I was to write something for you,
you look at it and with with your you could
you use that tool of developmental ending rate? Yes, and
you look at it like, where the heck is he
going with this? Where's the structure? All that kind of stuff.
It's just kind of all over the map. So I
(06:13):
applaud those of you who do this work tremendously. It's
it's like it's a very valuable thing to get people's
stories out there.
Speaker 5 (06:26):
I agree. I agree.
Speaker 4 (06:28):
So how did you decide you were going to even
start being a writer to begin with? Because you've got
some stories to tell about where you've been in the
world because of your writing.
Speaker 5 (06:39):
I sure do well, if we're going to start at
the beginning. A series of unfortunate events happened within my
family that led me to write start writing in a
diary when I was about nine years old. Oh, I
(07:00):
started writing, not in any comprehensible way, with a really
poor vocabulary. However, I started writing down my feelings and
that led to poetry. And because I also loved music
and played classical guitar on a Gibson and collected music
and came from a somewhat musical family. By the time
(07:24):
I was fifteen, I had this two thousand LP collection.
I woke up one day I had an AHA moment,
and I said, you know what, You're going to be
a music journalist. I just realized, Wow, I can combine
the two things that I love. This was back in
(07:46):
the day before the internet, before cell phones. So I
went to my poetry teacher in high school and I
told him about my AHA moment, and he said, Okay,
I'm going to help you write a pitch letter to
magazines because you're a great writer. He loved my poetry.
I had a one hundred average in my poetry class
(08:10):
and I failed math. So I was really clear on
the trajectory of where I wanted to go. After about
a year and a half, I finally got a yes
and was published in Circus magazine while I was still
(08:32):
in high school. That was one of the leading rock
magazines of its day.
Speaker 4 (08:40):
Yeah I remember Circus, Billboard, Rolling Stone.
Speaker 5 (08:47):
Yeah.
Speaker 4 (08:48):
Yeah.
Speaker 1 (08:48):
Okay.
Speaker 5 (08:49):
So now I'm still in high school, I'm writing these
reviews and I go to Europe when I'm sixteen on
a so called teen tour that they had those then,
and it just so happened that while I was in France.
I don't know how this happened, but it happened that
(09:09):
I met the lead punk rocker and I interviewed him,
Plastic bertrand he had a one hit wonder worldwide sasplan Pausmois.
So this was in the seventies, so I was just
bowled over. Then I'm in the Netherlands and I meet
(09:32):
Golden Earring again. I don't even know how this is
mysteriously happening. I'm not asking anybody to meet these musicians.
I meet them, whether at a club, I don't even remember.
So I interviewed Golden Earing. They had that hit song
Radar Love. So now this is now confirming to me,
(09:57):
like all the stars are aligned, and okay, you're going
to be a rock journalist. So great. I get back
to the States, I start doing some part time jobs
I'm working, and then one day, oh wait, I forgot
in so doing. I realized, Wow, there's so much competition,
(10:21):
especially in New York City where I grew up. How
am I ever going to position myself to become someone
in this business. I figured the only way to do
that strategically, thinking was to become the New York correspondent
for Canadian and British trade and consumer magazines. Nobody wanted
(10:49):
that position. There was a magazine from Calgary called Record Week.
I became their New York correspondent. There was a trade
magazine in Toronto call Performance Magazine. I became their New
(11:09):
York correspondent. And then there was Melody Maker, and I
was one of several freelancers. Now I'm doing this and
now I'm all. The doors are flying open. I have
access to everyone I want in the business. And I
get a phone call from the manager, the PR manager
(11:33):
of Kiss. They said, we are going on tour to Japan.
We'd like you to be one of ten journalists that
we are inviting on their Japan tour. And first of
all I said no, I don't like the band. And
(11:55):
then a series of events happened over the next couple
of weeks where everything Japan was in my purview. I
had an interview with Paul Simon at a Japanese restaurant.
I walked down Broadway there was an awning for a
Broadway show called Pacific Overtures. It was about Japan's rise
(12:17):
after World War two, Like, Okay, I'll say yes if
they call me. They did, I said yes, and I
asked them, why me. I'm not anybody. I'm just an
up and coming freelance journalist. Oh well, our tour after
Japan is Canada. We want you to write the publicity
(12:40):
for the tour. Oh so, tour Japan, and I reported
on the tour. Fast forward. After that, I wound up
staying in Japan for five years and became the first
(13:01):
foreign and female bureau chief for Billboard magazine.
Speaker 4 (13:07):
And this is like nineteen eighty or so. Yeah, wow, wow, yeah,
And then I probably read some of you, some of
your articles.
Speaker 3 (13:20):
Yeah.
Speaker 5 (13:20):
I mean, if you go into the archives of Billboard
in nineteen eighty, yes, it's still there, absolutely.
Speaker 4 (13:28):
Yeah, because it was one of my favorite as a teenager.
Is one of my favorite magazines.
Speaker 5 (13:37):
Yep, the top one hundred.
Speaker 4 (13:39):
Yeah, yeah, that is one heck of a story. Sod.
Where did you go from there?
Speaker 2 (13:50):
Well?
Speaker 5 (13:51):
From there? I While I was in Japan, I did
quite a number of things because I was in a
unique position. I worked for a company for one year,
and that company was the leading music publisher and publisher
of three or four magazines Shinko Music. They also had
(14:13):
radio production, they had access to the whole industry, so
I worked for them. I learned the ropes for one year,
and then I started my own company in Japan again
first female foreigner to have a company, and I introduced
punk rock to the Japanese market and we had a
(14:33):
promotion agency and publishing a sub publishing company. So I
did that for a couple of years and then decided,
at the ripe old age of twenty five that I
don't like the music industry anymore.
Speaker 4 (14:49):
This is it.
Speaker 5 (14:50):
I'm done. Went back to the States on the invitation
of Rocky Aoki, Benny Hannah Restaurants chain, and I started
doing promotions. I went back to New York, I started
doing promotions for Japanese companies, experiential marketing, publicity for several brands.
(15:19):
Did that for a couple of years, and one of
the last projects before moving to Switzerland was the introduction
of Wacol Lingerie on the East Coast, where I met
this musician composer who was working in Midi and m
(15:40):
Idi Midi as well as CGI, which was brand new
at the time this is like late eighties, and he
introduced me to the field of multi media. So I
jumped all over that because I've always liken myself to
(16:03):
the future. I love all creative technological advance is that
that are not harming people, right, that are that are
enhancing our lives. Well, the long, long and short of
that is that that that man and I went into
(16:24):
a partnership initially producing CD CDI and cg ram software
about travel, and we got married. We were also partners.
(16:45):
We are living in Switzerland, and then I decided, this
is like, let's make this something more concrete than just
a production company. I had bigger dreams. I wanted a
publishing house. I wanted a digital publishing house. So in
nineteen ninety two I started thinking about how can we
(17:08):
monetize this and create a digital publishing company produce CD
ROMs about travel. This is pre internet still, so I
raised capital from a Dutch company which was the largest
magazine group in Europe B to B magazine group. Yeah,
(17:33):
they invested in our company. We already had prototypes and
we moved. We had a small team, like with some
engineers and data people. I did everything business wise, from
distribution to marketing to sales to product development with the team.
So We raised a couple of million dollars in venture capital,
(17:57):
moved up to the Netherlands and had our company called
bop Media travel guides across Europe which were delivered on
c d rum with GPSS pre internet. Yeah, we put
out guides of Paris, London, Amsterdam, Berlin. It was just amazing,
(18:24):
amazing product. Then I sold my shares. Then I moved
to the South of France. Then I wrote my first book.
It's not published, but I wrote my first book. And
there's more asked me some questions, it's more and more
(18:44):
and more.
Speaker 4 (18:46):
So the book isn't published. What's he going to take
to get it published?
Speaker 5 (18:51):
Well, look that was also this is still in the
nineties where you go around, you send it to an agent.
Speaker 4 (19:00):
And yes remember all that.
Speaker 5 (19:04):
Yes, yeah, I was like, no, I'm not going to
waste my time continuing doing this down down a rabbit hole.
Speaker 4 (19:10):
That no.
Speaker 5 (19:11):
So I moved on to my next projects.
Speaker 4 (19:18):
So because kind of in an intro we talked about
you being a marketing strategist and things like that, and
you just you just gave a lot of proof, a
lot of putting approof.
Speaker 5 (19:33):
Well, the thing is that what's interesting is that writing
has always been the basis the effectation because even as
a publisher of those travel guides, I created an editorial team,
a digital editorial team all over Europe trained them. They
(19:55):
had never used a laptop, these writers. Yeah, we created
pre twitter fields where they would write about sites, restaurants, hotels,
events in a hundred words or less. They didn't know
(20:20):
how to write like that. So I had to give
them the example. I had to train these people. And
these were professional writers from places like Time Out magazine.
Speaker 4 (20:30):
Well, there's a difference between writing a long form article
in then writing a blurb. Yes, forty characters is a blurb.
Speaker 5 (20:41):
Right, Well it was a little more, but still, yes,
it was a blurb.
Speaker 4 (20:46):
Yeah.
Speaker 5 (20:47):
Yeah, So.
Speaker 1 (20:51):
You know, and.
Speaker 4 (20:54):
You know, you've got to be way more focused. I
say this because we have to stay focused when we
do like the movie short, right, you have where the
long form is ninety minutes. Now you've got to tell
that seeing Zach story in twenty minutes. You got to
(21:15):
stay focused. You got to stay on track. And that
takes a lot more well, a lot of different kind
of planning and thought, doesn't it.
Speaker 5 (21:26):
Yes, yes, which is interesting because for example, in my
memoir under my skin, drama, trauma, and rock and roll.
It's very short. That's book one in my trilogy. It's
about one hundred ninety six pages, kind of short, very
(21:49):
fast read. Sentences are short and concise, yet very visual.
So in other words, that kind of writing I attript
you to like writing a rap song. Yeah, rap and
hip hop are telling stories. Those are visual stories. Yeah.
Speaker 4 (22:13):
Well absolutely, even even from the very beginning of it.
One of my more favorite and it was also a
very popular song in especially in the United States. It
was was white Lines where they were talking about the
(22:34):
trail of destruction that cocaine leaves.
Speaker 5 (22:37):
Yeah.
Speaker 4 (22:40):
Yeah, it's storytelling.
Speaker 5 (22:43):
It definitely is. It's raw.
Speaker 4 (22:49):
Mm hm.
Speaker 5 (22:51):
Anyway, that's why I like that music because it it's
it's raw and for the most part, uncensored.
Speaker 4 (22:59):
I alluded to something earlier, and I think we should
discuss your editing process because well.
Speaker 5 (23:10):
Yeah, so editing is one of the services that I offer.
I ghost write. And when I say ghost write, like
a lot of people say they're a ghost writer, I
am using the traditional term. I write and co write
other people's books. Yeah, okay, so that's what I do.
(23:34):
I act as their muse, as their eyes, their ears,
their voice. I also do developmental editing. Now what is that?
That's taking a ten thousand foot view the big picture.
You're reading the manuscript and you are analyzing it for inconsistencies,
(23:57):
structural logic, flow, cohesiveness, Does it make sense? Do wear
the redundancies? If any does part a paragraph ten, page
thirty seven belong on one hundred and forty, does it
(24:18):
need to be reworked flushed out. That's basically what you're doing,
and it results in an editorial report, if you will,
a couple of page report for the writer to then
go back and work it, work it again.
Speaker 2 (24:41):
Right.
Speaker 5 (24:43):
Then I have a team that helps with the line editing,
the proofreading, formatting, which then goes into post production of
actually self publishing a book.
Speaker 4 (24:54):
Yeah, I get where you're going with that. I actually
laid out a calendar for from a series of photographs
from a tour that I should say a walk I took.
It was almost fifteen hundred kilometers wow, across the rockies
(25:19):
and everything right with this group. So I've edited it
this or put together this calendar with photographs and different
things like that, and the formatting to make it actually
look like it's supposed to look in comparison to I've
seen some self published books. It's like, oh, I see
(25:39):
you self published?
Speaker 5 (25:41):
Yeah, well.
Speaker 4 (25:45):
Right, right, so it's quite the arduous process.
Speaker 5 (25:53):
If yes, you know, look, there's no accounting for bad
taste ever since people could start self publishing or using photoshop.
That doesn't mean they're an artist. It doesn't mean they're
a writer. It just means they have some tools. They've
written a story, and there's lots of typos and grammatical errors,
(26:17):
and some of them they can't even write in English.
I don't mean that it's a second language. I mean
it's a first language. Right, So, okay, on the plus side,
express yourself.
Speaker 2 (26:34):
On the.
Speaker 5 (26:36):
Minus side, this is not a professional piece of art.
You have both and everything in between.
Speaker 4 (26:50):
So how do you get polished that out? For somebody
who's seriously what's to be known seriously but their book
to be known serious? How do you polish that out?
Speaker 5 (27:03):
Well? We have professional services, our formatting My formatting team
is professional. These are writers and editors and people from
the publishing industry that have gone out on their own,
who've been working and publishing for over twenty years. That's
(27:24):
number one, number two in terms of promoting, because that's
yet another aspect, the promotional part, the marketing, that's yet
another service. And it doesn't mean that everybody will be
a best selling author. Marketing these days, whether you're a filmmaker,
(27:46):
a photographer, an author, any type of artist, it's part
and parcel to your work. You cannot just be an artist.
If you don't market yourself in today's world, you will
not be known.
Speaker 4 (28:02):
No.
Speaker 5 (28:04):
And even if you do market yourself, look at social media,
everything is so dispersed that it's an organic consistent process.
Speaker 4 (28:18):
Like what you just said there, you said it's organic
consistent because it doesn't matter. There's all these these guys
that didn't want to say all these different things, the
tricks to this and I know, the trick to making
your your your bingo viral, blah blah blah, and it's
(28:40):
in its noise.
Speaker 5 (28:42):
There are no tricks to anything. And if you're selling tricks,
then that's how you're making money, not because you actually
made money in the industry you're talking about. It's just
like those shysters, hey make a million dollars with real estate,
come to a seminar. They never made a million dollars
(29:03):
in real estate. They're making their money by selling these
things at a seminar exactly, And so it's the same
exact thing you're talking about.
Speaker 4 (29:15):
Yeah, yeah, we do on occasion ourselves do a couple
of marketing tools, a few corporate documentaries, you know. But
and then people are like, like, well, why don't you
just show start shooting with the with the camera and
(29:37):
start recording our stuff. It's like I said, no, we
need to slow down and figure out who you want
to aim it at.
Speaker 5 (29:44):
Who you what the goal is exactly exactly. That's that's
the same thing I tell my authors that like, well,
here's my book, Well, who's your audience? Who is this too?
Why do you have that? Did you did you register
(30:04):
URL under your name or under the book's name? Maybe
it's too long that book name. There's so much to it.
Speaker 4 (30:16):
Yeah, a lot of steps. So how do you how
do you walk your clients to do the steps so
that so that they see the value in each and
every step.
Speaker 5 (30:27):
Well, either, first of all, I don't walk them through it,
so they decide prior do they want to do it
or do they want to hire my company to do it,
in which case they can have a Q and A
(30:48):
with me. We have Zoom calls and I basically send
them a list of instructions for what they have to
do to contribute. But mostly it's an iterative process when
they hire my company and it's a back and forth.
(31:10):
So for example, if I'm helping them with their KDP
Amazon upload, well they have to have an Amazon.
Speaker 4 (31:19):
Account, yeah, step one.
Speaker 5 (31:23):
But if they don't, which I've worked with people that don't,
it's setting that up. It's finding the keywords inside Amazon
to register your book.
Speaker 4 (31:37):
Yeah, that makes sense.
Speaker 5 (31:41):
It's putting it on sale maybe so that it goes
to number one for a day. There are there are
many ways, and either people can do people that don't
know this don't want to do it themselves, and I
don't do it themselves. No, And I also don't want
(32:02):
to work with people that want to do it themselves.
Speaker 4 (32:07):
That's not why you want to do it all for them.
Speaker 5 (32:11):
Yes, right, okay. There are other people that like coaching
on that kind of thing. I don't do that. I
have a book coaching course or an online course that
people can download. But the book coaching is a twenty
week series where I work very closely via Zoom with
(32:32):
my authors on how to structure and write their book,
and I guarantee you after twenty weeks they're going to
have a two hundred plus page book. Everyone who's worked
with me is committed and therefore they will have their book. No, it's.
Speaker 4 (32:58):
It's the we'd assume you have this process to weed
out the the tire kickers, the flake all saw.
Speaker 5 (33:07):
The Yeah, yeah, of course you have to have that
in any business.
Speaker 1 (33:18):
Is it.
Speaker 4 (33:20):
Do run into this where people are like, well, you're
so expensive, you could lower your pranks.
Speaker 5 (33:28):
No, no, they're not your client. Obviously they don't.
Speaker 4 (33:35):
They don't have they don't see the value in in
in the in the process that it takes to.
Speaker 5 (33:42):
Make right work, and therefore they're not your client. Right yep.
I mean people people that don't go into a doctor's
office and start negotiating with a doctor. Oh no, I'm
not going to pay four hundred and fifty. Well in Canada,
(34:02):
of course it's different. In most of the world it's different.
But in the US you're not negotiating prices.
Speaker 4 (34:10):
No, you're not prices. Let's put it. Let's uh for
the world of Canada versus the US, it's not uh,
it's not negotiating. People try to negotiate the service that
they're going to get. It's like, oh, I don't want
(34:32):
I don't want that, I want this. Well, yeah, that
I'm the doctor. I know that you need this, this,
and this, and you can't leave those steps out. And
it's the same for you. I would assume that when
a client says this is what this is what I want,
this is my then you tell them, then you we
(34:54):
need to talk about this, this step and and all
it takes to get them to that goal. If they're
working with you because you because they admire your success,
the na should follow follow the pattern that you're giving them.
Speaker 5 (35:12):
I think that's how it normally goes. If you're hiring
someone who can be a mentor to you and you're
not going to follow them, then you're slapping your own face. Yes, look, granted,
(35:35):
there are always people that think they know better than you.
There are there are people like that. Yeah, and you know,
let them think that I let them go off on
their bed self, go off all right, and then I say,
and so what do you think about doing this? Let
(35:59):
them think that they came to the conclusion. Fine by me.
The result is the same, right, and men have a
tendency to do that more than women.
Speaker 4 (36:15):
Hey, yes I'm saying this in public. Yes, we are
the weaker sex.
Speaker 5 (36:21):
I don't know if it's weaker, it's just more adamant
about certain things, like Okay, we'll do it that way,
even though it's my way.
Speaker 4 (36:36):
I don't know how many times everybody knows that that
I've been married a number of years to and yeah,
it's a She looks at me and says, well, I
told you to do it that way to begin with.
Now you're doing it. It's see it works out.
Speaker 5 (36:57):
Well, I don't say I told you so us that
would never work. That would never work with my clients,
So I don't say it.
Speaker 4 (37:06):
No, they may not work with they may not work
with the clients, but you. But sometimes you're thinking, I'm
gonna ask you a really hard question because you're running
out of time, and okay, the best ways to get
a hold of you and contact me be work with you.
We'll get to that part. If you could create the
(37:31):
most beautiful world possible, what would it look like to you?
Speaker 5 (37:37):
The most beautiful world? Yeah, it would be one where
all there were no borders, there was no poverty, because
there is enough energy and food, which already is. It
(37:59):
does exist where there were no wars because people would
not people would look upon war and killing as something
grotesque and inhumane, which it is in my opinion, and
(38:23):
would be authentically confident enough to show there they're they're themselves.
Speaker 4 (38:38):
Best ways to get ahold of your work again.
Speaker 5 (38:43):
At least Crensell dot com go to my website. Do
they need the spelling? Now you'll put a little thing.
Speaker 4 (38:54):
So they can get it appear as a link.
Speaker 5 (38:58):
Okay, yeah, so on my website or on LinkedIn.
Speaker 4 (39:04):
Yeh yeah, because you offer a lot of success to
people if they if they want, want to take it.
Speaker 5 (39:17):
So yeah, good way of putting it.
Speaker 4 (39:24):
So, as I said in the in the intro, if
you want your story to actually turn into something that
can can help your business grow, give you a bigger
impactor on your community. Whatever your goal is. Positive goal
is work with the lease and and just watch your
(39:50):
your life h change and you'll you'll find the find
a lot of its success to release. So yeah, so
at least crinchel dot com rae yes, yeah, so ah,
thanks for speaking with us today. It's been wonderful.
Speaker 5 (40:13):
Thank you, Michael, thank you for your time. I appreciate it.
Speaker 4 (40:18):
Thank you everybody for listening today, and we'll talk to
you next time.
Speaker 2 (40:25):
Help.
Speaker 4 (40:48):
I don't know.
Speaker 5 (41:02):
That this is days.
Speaker 1 (41:10):
A reason to be.
Speaker 3 (41:18):
Sad.
Speaker 2 (41:18):
Me back Little Choice SHOs. We can't t.
Speaker 5 (41:28):
Wait, so.
Speaker 3 (41:34):
Will.
Speaker 1 (42:48):
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