Books for Pageant Directors
There are very few books for pageant directors on the market. The few books that are available are listed below.
Producing Pageants: A Director’s Guide
By Anna Stanley
A practical guide to planning and producing a pageant. Published in 1989, but remains the only book on this subject on the market. Discusses methods for producing a successful pageant at minimal cost, promotion strategies, how to make pageants a beneficial experience for participants, and time-proven methods from pageant directors.
Producing Beauty Pageants: Brokering a Pageant through Barter
By Anna Stanley
Nearly all new pageant systems start out strapped for cash. Most don’t have any idea of what it costs to produce a National pageant. Cara Ryckman, director of Crown Jewels Pageants and Hollywood Jewels Pageants, certainly didn’t. In her first year of operation, Cara’s hotel bill for her first National pageant — which included rental of the ballroom, Interview rooms, dressing rooms, crew rooms, workshop rooms, and orientation rooms, i.e., collectively known in the pageant industry as “the bottom floor” (plus a buffet) — amounted to $26,000! Moreover, food that is purchased at the hotel, well, being in Tennessee incurs a twenty-two percent service charge PLUS taxes. Fortunately for Cara, she met her room block quota (a group of hotel rooms that hotel management put on hold at a specially negotiated rate for pageant…
Producing Beauty Pageants: Open Call
by Anna Stanley
When I began producing pageants in 1983, I held Informational Meetings to tell prospective contestants about my pageant. If I could personally meet prospective contestants to explain the pageant process, I would have a better chance of getting these girls to attend my motivational deadline-to-register event: a pageant commercial filming, boutique photoshoot, or pageant workshop. Besides, an Open Call session was the best place and opportunity for me to educate prospective contestants about sponsorship support, such as how to pitch to sponsors, collect sponsorship fees, and return to the deadline-to-register motivational event to become official contestants. Meeting prospective contestants also built a foundation of trust. After every Open Call session, I set a deadline to collect the first sponsorship installment (never a deposit, as this is too easy to walk away from). To motivate the deadline date and encourage many Open contestants — usually ending up to be about 40% — I needed to have an enticing motivator, such as a pageant commercial filming, a boutique photoshoot, or a pageant workshop.