In his column, famed direct response copywriter Herschell Gordon
Lewis says,
"cleverness for the sake of being clever may well be a liability,
not an asset." As such,
Lewis provides so-called "automatic self-starters" for
ad and brochure copywriters -
they may not be innovative, but they tend to work.
1. "We're solving this problem" -
For example, "We're Solving The Problem 0f Overcharges On
Your Property Tax Bill."
Lewis says that a "problem solving" headline must have
a highly targeted market who
has the problem and wants it solved. He notes that this headline
will work extremely well with that market, but may be overlooked
by people who have the problem but don't know it. Immediately
follow your headline with a description of your solution.
2. "What trouble I had until I discovered this..."
Lewis uses the example, "My Feet Were Killing Me Until I
Discovered The Miracle In Germany!" He also points out how
effectively the "tease" works in this example. To see
for yourself, compare it to "The Miracle Foot Cure From Germany."
3. "Turn this (negative) to this (positive) with..."
This approach often works best with a graphic depicting a before
and after scenario, such as "How To Turn Dry, Brittle Hair
Into Luxurious Hair In Two Easy Steps." As with the "We
solved the problem" approach mentioned earlier, this approach
works best when your prospect immediately realizes they have the
problem that you're solving.
4. "If (or when) you do that, you need this" -
For example, "If You Want To Increase Your Salary By 50 Percent
In One Year, This Book Is The Answer." Lewis suggests starting
with "If" and eventually shifting to "When"
later in the copy, which subtly assumes that the reader will respond.
5. "Answers to your questions about..." -
For example, "Answers To Your Questions About Safe Mutual
Fund Investments in 1995." This is Lewis' "all-time
favorite" type of headline because of its use of the word
"you" and a question... both help engage the reader.
6. "Stop doing this. And here's why."
To avoid insulting your prospects, follow the headline with "unassailable
logic." Lewis uses the example, "Stop Waiting On Your
Windows Application To Print!" This lead grabs the intended
market, and sets the stage for subsequent descriptive selling
copy. Herschell Gordon Lewis is a direct response writer, author
and speaker. His most recent book, "Sales Letters That Sizzle"
is published by National Textbook Company. Mr. Lewis can be reached
at (305)-587-7500.
Source: "Automatic Self-Starters," by Herschell Gordon Lewis, Direct Marketing Magazine, January 1995, pps. 13-15, 2 1/2 pgs.
Excerpted with permission from Philip W. Sawyer, vice president
of Roper Starch
Worldwide, from his article in the March/April Marketing Tools
magazine entitled "Ads
That Win vs. Ads That Work."
There's an age-old debate about whether advertisements that win awards actually perform as impressively on the bottom-line. Certainly, while some award-winning ads can also be credited with blockbuster results, this is not always the case. So, who better to share with us the ten elements found in the country's most effective ads than the vice president of Roper Starch Worldwide. Starch specializes in measuring the readership and effectiveness of print advertising, including the affect of the headline, body copy, illustration and logo on the target market. "As we offer these, we are well aware that any number of ads ignore these guidelines yet are very successful," says Sawyer in his Marketing Tools article. "That's fine. Mark Twain broke nearly every rule of grammar when he wrote The Adventures of Huckleberry Finn. But he had to know the rules before he could break them effectively."
1. Keep It Simple, Stupid.
The KISS principal is probably the most abused advertising principal
of all. Advertising needs to catch the eye quickly, deliver its
message quickly, and allow the reader to leave as quickly as possible.
Ads that clutter the page with multiple illustrations and varied
sizes of type offer no central focus for the eye, no resting place.
2. Don't Sell The Product. Sell The Product Benefits.
Most advertisements suffer from egotism. If the advertisement
doesn't answer the reader's implicit question "What's in
it for me?" it is unlikely to attract any real interest.
The best ads directly address the problems that the product or
service solves and suggest how that solution makes life better
for the consumer.
3. Even In A "Politically Correct" Society - Sex
Sells.
Sexy ads work equally well on women as they do men, maybe better.
Sawyer says the publications that carry the sexiest advertising
today are women's publications.
4. Use Celebrities.
Celebrities may not be believable, but they are effective at attracting
reader attention, the first job of any advertisement. According
to Sawyer, ads with celebrities earn "Noted" scores
that are 13 percent higher than average.
5. Exploit The Potential Of Color.
The eye is attracted to bold, bright, beautiful color. Research
data suggests that one-page color ads earn "Noted" scores
that are 45 percent higher on average than comparable black and
white ads.
6. Control Reader Flow.
Good design controls the way a reader looks at the ad, locking
in the elements most likely to be seen first, second, third and
so on. The most powerful element of an ad is almost always the
illustration or photo, so don't put it at the bottom where the
eye can easily slip off the bottom of the page.
7. Be Specific.
Americans have little tolerance for advertising that doesn't have
a clear and distinct message. Worse yet, they may react with considerable
hostility to the advertiser who dares to confuse them. Years ago,
a Benson & Hedges cigarette advertisement featured a bewildered
man in pajamas standing in the midst of a formal gathering. It
impressed the trade press but frustrated the target market.
8. Turn Up The Contrast.
Advertisers do well to include "visual irony" in their
advertisements. American Express produced a memorable ad in the
late 80s by having the jockey Willie Shoemaker and the towering
Wilt Chamberlain standing back-to-back. Another type of contrast
is with color. Stolichniya vodka ads performed an average of 50
percent better when the artwork was presented on a black background,
versus white.
9. Use Animals And Kids.
And this holds true for products or services that have nothing
to do with kids or animals. The challenge is to find a way to
incorporate these winners into the campaign. Many readers will
recall the highly effective Hewlett-Packard printer ads featuring
a Dalmatian. Or, the commercials for Hitachi featuring actress
Jamie Lee Curtis and various animals. Both campaigns won high
scores in their categories.
10. Make Copy As Inviting As Possible.
Squeezing copy into a tight corner to maximize white space is
a so-called "triumph of style over common sense," as
is a lot of reversed out type, unjustified left and right margins,
and type over heavily patterned backgrounds. If you get 20 percent
of readers to delve into your copy, you're doing good, so make
the copy as inviting and appealing as possible.
For more information about this article or the services provided
by Roper Starch
Worldwide, call Philip Sawyer at 914-698-0800.
This article appeared in the Marketing Shorts newsletter, the #1 rated monthly newsletter which compiles only the best information from the top U.S. marketing magazines, books & seminars. Source: "Ads That Win vs. Ads That Work," Marketing Tools, March/April, pp. 4, 7, 8-10,3 pgs.
By Nancy L. Beckman, President, Marketing Works! Inc.
No one wants to spend more money on advertising and media than necessary. But, can small ads be effective? Can they compete with larger ads? Or competitors with bigger budgets? A mail-order copy chief once said, "A piece of copy is like a pot of broth. The more you boil it down, the stronger the flavor gets." Perhaps this is why small ads sometimes outperform larger ones. Advertisers who have tested small vs. large ads have found it is not uncommon for 1-inch ads to yield a lower cost-per-inquiry than half-page ads.
How To Make Small Ads Sell
1. Studies show that a small ad placed near the top of
a page can perform up to 40 percent better than ads toward
the bottom.
2. Use telegraphic language. One liners work great. Pictorial
illustrations must be kept small or omitted, or used in an unusual
way.
3. If possible, make the small size and white space work
in your favor. What analogy does the word "small"
have to your company... your prices... your delivery time... quaint
atmosphere?
4. Have your ad be an unusual shape, or make it pop off the
page with reversed-out headline type.
5. A thick coupon border helps draw the eye to almost any
size ad, no matter how small. This is particularly useful for
quickly communicating a good deal or an urgent offer.
6. Give your ad visual contrast.
7. A small ad can effectively deflate the investments of
other larger budget advertisers. For example, a new home builder
placed a small one-colum x 4 inch ad in the New Homes advertising
section which simply said, "We'll Beat Any Advertised Incentive
In This Section."
8. In lieu of copy and photos, offer a free guide, report
or kit. You'll have a two-step sales process, but the low cost
of inquiries can help make the bottom-line numbers work.
To generate better qualified leads, sell your information, e.g. "Send $1 for Our Executive Report... Eight Ways To Make Small Ads Outsell Everything Else."
Using small ads to test media
Since small ads are inexpensive, they can be effective tools for
testing media.Some advertisers create a small direct response
version of their ad and run it in publications they're considering.
The pubs that pull the best are then chosen for the larger, more
expensive ads. Likewise, they run a small ad in the same spot
in the same publication every month for a year to determine affects
of seasonality on their offer. Using this information, they spend
their dollars more wisely on placement of your larger ads. Since
the small ad is different from the larger version, it can not
be used to predict response rates, only the publications which
tend to attract the right prospects.
Nancy L. Beckman is President of Marketing Works! Inc., a marketing
consultancy based near Washington, DC. 703-742-3640. This article
appeared in the Marketing Shorts newsletter, the #1 rated monthly
newsletter.
For some, media decisions are either painfully difficult or amazingly simple. Fact is, they shouldn't be either. Here are some tips from three media pros.
Choosing Media
Lisa Maulit, media buyer for Fraser/Young advertising in Los Angeles
advocates both a quantitative and qualitative analysis of media.
Quantitative comparisons include cost-per- thousand rates, industries
or markets reached, job titles of subscribers, audit information,
and the success of previous ad placements.
Qualitative comparisons include compatibility of editorial to your product, frequent use of media by competitors (a sign the media is working), and the ratio of editorial to advertising. For image ads, media with more editorial than advertising and high-end color and graphics may be preferred over publications with a high ratio of ads and lesser graphics.
Anyone who places their own print media should purchase the Standard Rate & Data Service (SRDS), a definitive media guide with descriptions, circulation numbers, regional editions, rates, and more. SRDS can be reached at 708-256-6067.
Freebies... Get Your Share!
Deborah Cover-Lewis, president of MediaVision, a media buying
service based in Bethesda, MD, says both broadcast and print media
often offer free, or inexpensive services, in the interest of
securing advertisers, and partnering in their success. You just
need to know what's available, because these services aren't promoted
on the rate card. Research... Ask if the publication will research
their subscribers' opinion of your products. This is generally
done in an omnibus study combining numerous companies. These studies
can also be used to measure changes in attitude and awareness
before and after your ad campaign. Some publications offer Starch
studies which measure the impact a specific ad has had subscribers.
Belly bands... Some publications will alert subscribers to see
your ad by printing a notice on a band around their magazine.
Special mailings... Ask if the publications will mail free copies
of the magaine to your specific audience, with a note saying the
publication is provided compliments of you and the publisher.
Speaking engagements... If an editor is well known in your industry,
ask if he or she will appear as a speaker at your seminar or conference.
Reprints & displays... Often, a magazine will reprint 500
or more copies of your ad, free- of-charge. They may also create
point-of-purchase displays featuring a copy of your ad and a banner
saying, for example, "As Seen In Time Magazine!" Giveaways...
Many publications will co-sponsor a giveaway, which you can use
for your own promotional purposes. e.g., You manufacture golf
clubs and want to advertise in Golf Digest. Ask the publisher
if they will give you a free trip to a Pro Golf Tournament, which
you can use as a sweepstakes giveaway for your market.
Negotiating Discounts
These days, almost no-one pays the rate card price. Margaret Roberts,
President of Roberts & Buchanan Inc, a direct response agency
and discount media buyer, says in her April Target Marketing article
that new advertisers should ask for a special "test rate"
and consider "remnant space" which is unsold broadcast
or print media which is sold at the last minute at a discounted
price. "Remnant space is good for augmenting an existing
campaign, but since you don't have control over if, or when your
ad or commercial will run, you can't rely on it," says Cover-Lewis.
When placing direct response advertising, some publications will
also accept a per inquiry or per order payment. If you can't negotiate
any of these discounts, at least negotiate for a premium location
(right hand in the front), the use of extra colors at no extra
cost, or some of the freebies described earlier.
Understanding frequency
When it comes to direct response ads, "it is a myth that
you need to run at least three times before the ad will start
to pay out," says Roberts. Invariably, your first insertion
will nearly always pull the most responses, and you should keep
running the ad until the cost-per-lead is no longer acceptable.
However, with image or brand building ads, Cover-Lewis says three
insertions is considered the bare minimum... "the first makes
an impression, the second starts people thinking, and the third
gets them to really stop and look or listen." She adds, "Although
there are many studies about repetition, there is no magic answer,
and the needs will vary widely by product and target market. For
example, if you are introducing a new product and your company
has no name awareness or credibility, you'll need to factor in
additional placements."
Split testing - great research at bargain rates!
With split testing (also known as A/B splits), you can easily
test the effects of copy and offer changes. Better yet, split
tests are sometimes offered at no charge, or can often be negotiated
at reasonable rates. A genuine A/B split is when you give a publication
two uniquely coded ads and they divide them equally among all
of their susbcribers. This is generally done by inserting one
ad in every other issue... this guarantees that subscriber geographics
will not inadvertantly throw an extra variable into test results.
Likewise, in a true A/B split, both ad verions should appear on
the same page, with identical editorial.
Evaluating test results
Roberts says "unless the test out pulls a control by 20 percent
or more, it is not a clear winner over a control ad that has had
prior exposure in the publication."
This article appeared in the Marketing Shorts newsletter, the #1 rated monthly newsletter which compiles only the best information from the top U.S. marketing magazines, books & seminars.Source: "The Mechanics of the A/B Split," Target Marketing, April 1995, pp. 22, 24-25 - 1 2/3 pgs. and "Increase Your B-to-B Media Buying Odds," Sales & Marketing Strategies & News, April 1995, p. 25 - 1/3 pg. and Marketing Shorts interviews with Deborah Cover-Lewis of MediaVision.
After nine years of typography research, Colin Wheildon is releasing his findings in a soon-to-be very unpopular new book called Type & Layout.
As advertising maven David Ogilvy says in the book's forward, "[An art director] doesn't care a damn whether anyone reads the words. He regards them as mere elements in his pretty design." With the research presented in this book, perhaps all that will change.
Headlines:
In order of priority, here are the best headline typefaces, ranked
by the percentage of people who find them legible:
92% Roman old style lower case,
90% Sans serif lower case,
89% Roman modern lower case,
86% Roman oldstyle ital lower case,
86% Roman modern ital lower case.
Text:
For body copy, Wheildon says 67 percent comprehended serif type
compared to only 12 percent for sans serif type.
Margins:
Twice as many readers comprehend type with justified margins than
they do ragged right margins.
Italics:
Italic type is much more legible than people may have guessed,
performing nearly equal to plain type.
Periods:
Use of a period at the end of a headline significantly reduces
comprehension. Columnn widths: Don't use less than 20 characters
or more than 60 characters.
Pick up a copy of the book, "Type & Layout,"
by Colin Wheildon, published by
Strathmoor Press. .
According to marketing strategist Al Ries, "the essence of brand building is standing for something.... If you just make a better product, or the same product as everybody else (only cheaper), you're not likely to achieve much success."
A good test to see if your brand has true equity is to ask your customers, "What does the XYZ widget stand for?" If they don't all say the same thing, you've got a problem.
Ries uses Chevrolet as an example. "Chevrolet is a weak brand because it doesn't stand for any one thing." Until recently, Ries says Pepsi had a brand problem. They tried to stand for "a better taste than Coke." The effort failed, says Ries, because everyone knows that Coke stands for "the real thing," so how could an imitation taste better?
Pepsi fared much better with their "Pepsi Generation" approach. Now Pepsi is the soft drink that stands for the younger generation. Key to building a brand is consistency. But it's tough when companies get bored with their campaigns... or agencies need to prove their value by coming up with a new idea... or a brand name is extended to so many products that it loses it's identity. Ries says a good example of a brand that stands for something is Zippo. It's been the "original windproof lighter" since 1932. No matter how times have changed, the lighter hasn't. It's the same color. With the same lifetime guarantee.
In fact, Zippo ads say "In a constantly changing world, we don't. Why change the most durable lighter ever made?" While Zippo positioning remains consistent, sales continue to climb. Ries says Zippo sales have grown by 20 percent each year for the past eight years.
Resist the temptation to change your identity, unless there's something terribly wrong with the one you've got. As Ries says, "If you try to stand for everything, you wind up standing for nothing." Al Ries can be reached at Ries & Ries, Great Neck, NY. Source: "Building a Brand? Take A Stand." Sales & Marketing Management, August 95, p. 26, 1 pg.
It's part sales, part public relations, and part relationship marketing. It's an "outserts" program made possible through firms like Targeted Media, Inc. For a fee of between $45 and $55, a company can sponsor a magazine subscription for their major clients and/or prospects.
In addition to creating good will, the program can be a great sales tool. Here's how it works: The first issue comes with a personal, hand signed letter from a member of the sponsor firm. The letter explains the recipient's importance to the sponsor and their desire to establish a closer relationship through a "special communication link-up." About four to six times a year, the sponsoring company gets a full-color multi-page wrap around the outside of the magazine. The outer wrap is printed on the same paper as the magazine cover and can include 4 to 6 pages. The wrap can be used to describe products and services, generate sales leads, or build awareness. Readership scores for the wrap run in the 90% range.
According to Targeted Media president William Kenyon, " We have clients using them to pre-empt a competitor who may have ads inside, or a pharmaceutical company might sponsor magazine subscriptions on behalf of their physician clients." Kenyon also points out that the sponsor will be notified if their prospect has moved or taken another job. Targetted Media will help clients choose the right publication from more than two dozen options and will help develop the message to go along with it.
Publications include FORTUNE, Sports Illustrated, Money, LIFE, GOLF, TIME and entertainment, to name only a few. Minimum purchases are 1,000. Call William Kenyon, Targeted Media at 203-625-9293 for more information.
Source: "How Magazine Outserts Work," Target Marketing, June 1995, p. 8 - 1/4 pg. and a Marketing Shorts interview with William Kenyon.
Your company has a great new product. You put together some news releases, photos and fact sheets and hit the road. Your goal? To present your product to editors so that they will write about it. To succeed, however, Richard Allen of Airways Communications says PR people have to rethink their role with editors. "It's not even your presentation - it's their presentation. At best, you're a well-prepared facilitator participating in a group discussion."
So, now that you've been put in your humble place, what do you do? Begin the way any good facilitator would, says Allen. "Turn the whole show inside out and upside down by asking a question." Your goal is to ask questions to put the editors thoughts about your industry or product area out on the table. e.g. Instead of saying "we've got a great new material for building construction," say "what do you think are the greatest problems facing the construction industry today?" The editor will most likely include "rising costs" in his or her answer. This gives you an opening to say, "we agree, and we've set out to solve the problem by inventing a new recycled wood product."
Since the editor told you what was important, and you responded with a solution, you're off to a great start. Furthermore, the editor will most likely appreciate your style... you recognized that it's his or her show, not yours.
Source: "A Headline Act," Marketing Tools, July/August 1995, pp. 66-69, 2 1/3 pgs.
Stand out by standing up, says David A. Peoples, author of Presentations Plus. Peoples says if you use visual aids and stand during your presentation, chances are 43 percent higher that your prospect will buy. Why does a stand-up with visuals stand-out? Peoples says the prospect learns 200 percent better, they retain 38 percent more of what they hear, the presentation length is reduced by up to 40 percent.
Source: David A. Peoples, author of Presentations Plus, John
Wiley & Sons, 1992, as
reviewed on pg. 49 of Sales & Marketing Management, December
1994.
Fear of rejection occurs most frequently when contacting prospects, finding out what their objections are, and asking for a decision. According to Ron Willingham, author of "Integrity Selling," fear is controllable when salespeople don't just view their job as selling, but as getting to know as much as they can about the prospect. To do that, they need to listen a lot more than they talk.... prospects are more likely to hear the sales person's side of the story, when they've had a chance to tell theirs.
In his book "Give and Take," Chester Karrass says you need to know the following about your prospect:
1) What are their objections?
2) What do they like and dislike about the competition?
3) Do they believe the claims made by competitors?
4) How do they feel about other alternatives?
5) Is he or she ready to make a decision? If not, why?
The way you phrase your questions is important too. In "Sales Questions that Close the Sale," author Charles D. Brennan Jr. says instead of saying "Do you make the final decision?," it's better to say "Describe for me the decision-making process in your organization." Instead of "Is there anything I can do to help your decision-making process?," say "Share with me the role I can play in assisting you with the buying process." And instead of "What is the area you would most like to improve?" say " Explore with me the areas you would most like to improve and the reasons you've chosen these areas over any others."
Remember, selling is an "exchange" of information and ideas. Since ideas are like beliefs, the prospect doesn't want to part with them easily. It's generally best to get a prospect's full viewpoint before presenting your own. In the process, paraphrase your prospect's beliefs and acknowledge that their opinions were heard and understood. Karrass says your bargaining leverage is determined by how much you know about your prospect. And since prospects generally like to talk about them-selves, let them give you the infor-mation you need to make the sale.
Overcoming call reluctance is easier with this tip from sales trainer Rick Shaefer. He says to break up your calls into blocks of ten. Only allow yourself to take a break after these ten calls have been made. He says it doesn't matter whether you've had ten conversations, or ten hang-ups, the point is to set a goal that has a beginning and end. Further, he says that when you constantly start and stop, you're throwing yourself off rhythm. Take care of follow-up correspondence during your break, then set off on another ten calls.
Befriend the gatekeeper. Here is How.
Befriend the "gatekeeper" with this simple tip. When you call the prospect, their secretary will most likely ask for your name. Say, "My name is Susan Smith. What's yours?" Then, interject the secretary's name in your next question, i.e. "Hello Jane. Is Mr. Jones in?" According to sales pros who have perfected this tip, the percentage of calls that get past the secretary jump from 10 or 20 percent up to as high as 80 percent. Try it!
Four Thought-Provoking Reasons Salespeople Should Ask Questions
Think about normal, everyday conversation. Do you like a person who talks about themselves all the time, or someone who shows an interest in you? The same is true in sales... the process of selling is made easier and more profitable when the salesperson learns how to ask the right questions.
Brian Tracy, author of Advanced Selling Strategies, presents a fascinating point-of-view on the importance of questions, and the various techniques to use. He says, imagine a spotlight which shines on whomever is talking. The more the prospect talks, the more they're in the spotlight. Every time the salesperson talks, a shadow is cast upon the prospect. A prospect whosits in the dark will not be interested in you -- or your product. "In a sales conversation, the person who asks questions has the control," says Tracy. "Questions arrest attention. They reach out and grab the lapels of the prospect and jerk him toward you." Only while the prospect is talking do you have his or her complete attention. They can't think about objections and talk at the same time. If your questions are logical and strategic, the prospect will bask in self-importance while they're talking themselves into wanting your product.
"Telling is not selling," says Tracy.
The problem is: people can think at 500-600 words per minute,
but can only talk at about 125-150. So, the more you talk, the
more opportunity you're giving the prospect to think of objections,
how busy he or she is, and how afraid they are to make a wrong
decision. Conversely, they can think of only one thing while they're
talking. And if they're talking about what they need, all the
better for you.
"Never say a thing if you can ask it," says Tracy.
Sure, it's easier to repeat the benefits from your sales literature,
but it's more effective if you ask questions which help bring
out the information. Remember, when answering a prospect's question,
they can only absorb three sentences at a time.
Tracy says, "Listening builds trust."
As mentioned earlier, the most enjoyable conversations are those
in which you get a chance to talk. So, the more the prospect talks,
the more they will like and trust you. With this rapport, they'll
also be more likely to listen to what you have to say.
When to use "open-ended" versus "convergent"
questions. Begin questions with words like "Who," "What,"
"Where," and "How." e.g. "What are your
biggest challenges in meeting your revenue goals?" After
your information collecting phase, move toward a close with convergent
questions. Otherwise known as closed-ended questions, they gradually
bring the prospect toward "yes" or "no" decisions.
They begin with words like "Do," "Will," Won't,"
and "Did." E.g. "Do you agree that without making
some changes in the areas you described earlier, you're going
to have problems meeting your goals?"
"Verbal Jujitsu"
Tracy says there are three words to interject in your questions,
and be sure to use them in the right order. First comes "feel"...
"How do you feel about your current system?" Tracy likes
it because it's neutral and easy to answer. Second comes "think"...
"What do you think are the reasons you're using your current
system?" This asks your prospect for definitive information.
Third comes "in your opinion." e.g. "In your opinion,
would it solve your problems if we improve your plant efficiency
by 10 percent?" Prospects instinctively want to defend their
own opinion.
Creating a comfort zone
So, now that you've done a great job of probing, the sale should
come easy. Right? Only if you make the prospect feel comfortable
that he or she is making the right decision. People have what
Tracy calls a "herd instinct." They like to know that
others have purchased the product. Secondly, don't overestimate
how well your prospect understands your product. No one likes
to feel stupid, and you might inadvertently scare them away with
obscure terminology or by jumping over basic steps in the process.
[Ed. Note: Don't underestimate how powerful the herd instinct
can be. In a recent issue of Marketing Shorts, we reported on
how a top salesman used a photo album of customers to help close
large sales of very expensive equipment. Reportedly, the photo
album was so convincing, prospects often bought the product sight
unseen]. Brian Tracy's book, Advanced Selling Strategies, is published
by Simon Schuster.
Source: "Stop Talking and Start Asking Questions," Sales & Marketing Management, February 1995, pps. 79-81, 83-87, 3 1/2 pgs.
"We miss 100 percent of the sales we don't ask for," says Zig Ziglar. Yet it's amazing how many salespeople overlook this important step. According to sales trainers Marcia Okon and Barbara Labatt-Simon, of Okon/Labatt Simon, Inc. in New York City, most salespeople don't ask for the order because they fear rejection. And, when it comes to sales, no doesn't always mean no. The buyer may want to see how much you value his or her business.
Furthermore, salespeople who do ask for the order tend to ask only twice, yet studies show that most buyers need to be asked four times. Just as animals instinctively know if you are afraid of them, so do buyers. If you don't think "yes" and ask for the order confidently, the buyer may sense you're selling an inferior product.
Asking for the order
A close-ended question should always be used when asking for an
order. Three types are: direct, choice or pro-con closes. Direct:
"Are we going to do business together?" Choice: "Do
you want the XYX upgrade with your initial order, or with the
Fall delivery?" Pro-Con: The salesperson jots down the top
ten reasons the buyer will benefit from the product. He or she
then asks the buyer to write in reasons not to buy. In most cases,
the buyer will be unable to write more than one or two reasons.
Buyers nearly always analyze the pro and cons during their descision-making
process. When the process is put in writing, the salesperson can
remain in control and understand exactly what the buyer is thinking.
Selling in silence
After you ask for the order, resist the urge to fill the silence
with more salestalk. At this moment, you want the pressure to
be on the buyer. Don't make it easy for them to delay a decision.
Anticipating buyer's remorse
Many buyers will pass through a phase where they doubt their decision.
For this reason, it's better to congratulate your buyers on their
decision than to thank them.
Source: Don't Forget To Ask For The Sales," Sales & Marketing Management," June 1995, p. 37 / 1/3 pg.