Category Archives: booth signs

CUSTOMER CARE: It’s Not Just WHAT You Do, It’s HOW.

Expecting customers to already know how to do business with you, is not good customer care.

I had an interesting–no, make that incredibly frustrating–exchange with the post office awhile ago. It got me thinking about customer care.

We may have different ideas of what giving good customer care is, but we all recognize when we’re not getting it.

If you want to read the conversation, I put it at the end of the article. If you’re in a hurry, here’s my point:

Nobody knows your business like you do. Nobody knows better than you how you prefer people to order, pay or ask for more information. Nobody knows better than you what your return policy is.

Yep, nobody knows better than you–not even your customers.

Nor should you expect them to.

Expecting people to know the ins, outs and idiosyncracies of your biz, and treating them like they’re stupid when they don’t, is not good customer care.

We all have unique ways of running our business. We have our policies and procedures for handling orders, mistakes, returns, questions and repairs. We know our hours of operation, our location, our inventory. After all, we deal with our business every day.

But our customers don’t.

We should keep in mind that our customers deal with many, many other businesses, every day–not just ours.

They deal with schools, banks, insurance companies, hospitals, shoe stores, hair salons, pharmacies, baby sitters, auto dealers, telephone companies, banks and post offices. They order online from Amazon, Blockbuster, Borders, eBay and Medco.

Each of these businesses does things a little bit differently. Each asks its customers to interact with them slightly differently. Each one has their own hours of operation, procedures, policies, forms, payment methods.

As wonderful and distinctive as I’d like to think my biz is, to my customers–even my loyal, loving, regular customers–it’s just one more operation with its own hours, procedures, policies, etc., etc.

Very few people want to expend a lot of brain cells memorizing all the nuances of each business, especially if their interaction is infrequent. After all, how many insurance claims have you filed in your life? Should you be expected to know the name of the form, the supporting documents you need, and the deadline for filing it? Especially if the procedure was updated since you filed your last claim eight years ago?

Even “standard procedures”–say, writing a check for cash at the bank–is tricky if we only do it once every few years. Do you make it out to yourself, or to the bank or for “cash”? Which method do you have to endorse? Which method does the bank prefer??

If we work at a bank, it’s obvious. However, if we rarely even visit the inside of a bank anymore, it’s not so obvious.

Remember–We are just one more business our customers deal with. There’s nothing “more special” about us that would lead us to expect they should memorize how we want things done.

We may think our website is easy to navigate. We may think our return policy is hard to miss. We may think it’s obvious how to use our product. But maybe it’s not. Or maybe it just gets lost in the shuffle.

It’s even worse when policies are non-standard or downright odd. I bet we all know businesses that are closed Sundays and Mondays. Or Mondays and Tuesdays. Some are only open 4-7 on Tuesday, 12-3 on Mondays and Wednesdays, closed Thursdays, and open Friday 10-3. Saturdays and Sundays by appointment only (but no phone number is given and they never answer the store phone.)

Am I really expected to remember that? Maybe for one biz. But for two? Six? Twenty???

Even something as supposedly stable as location can get dicey. Some businesses around here have moved three, four, even five times in the 20 years we’ve been here. Once I sent my husband on an errand I usually take care of. He called me fifteen minutes later–no store. Where the heck were they?, he wanted to know. He’d gone to their address from five years ago. It was already two addresses old.

It’s bad enough to assume people will remember all our quirky hours, or that we tend to move every three years. It’s bad enough to assume they know all the proper terminology, or are familiar with all the forms they need to do business with us

But it’s even worse to treat your customers like they’re stupid when they don’t know. (Hence my post office story.)

We can tell them, we can show them. Signage in your booth helps. (“We accept all major credit cards.”) But you’re still going to get asked, “Do you take credit cards?” After the fiftieth time you’re asked that, saying, “Read the sign!” is not good customer care. (Unless, of course, it’s the same customer asking fifty times. If that’s the case, I give you permission to say, “Hey, no, I don’t, but that artist (insert the name of your least favorite artist) over there takes credit cards.”) Saying cheerfully, “Yes, we do!” is smart.

Clear, accessible policies on your website helps. (“Custom orders are not returnable.”) Telling them helps. (“If this doesn’t work out for you, you can return this pin for exchange or credit towards another piece within 10 days.”) Putting it in writing helps. (“Items can be returned for exchange or credit ONLY with 10 days of purchase.” on your invoices.) Usually, terms such as your return policy must be posted visibly in your store/booth or printed on the receipt.

Clarity helps. Ensure your website is ridiculously easy to navigate. Redundancy helps. Make vital information incredibly easy to find, posting it in several places if necessary.

But most people (me included) simply let all your information leak into “overflow parking.” It’s human nature: Too. Much. Information. Making them feel stupid when they realize the bracelet is too hard to put on by themselves will put the kabosh on future sales. Offering them a different clasp when they complain, or offering the option of an exchange, will help.

Patience will go a long way when hiccups occur. Yes, some customers ramble and have to be gently reined in. But good listening skills, asking good questions, and simply being professional, courteous–and kind–will help you target what your customer needs from you.

And your customers will appreciate it.

THE CONVERSATION

In this case, I was out of the country for over a week, and it took me a couple of days to get through my mail. So almost 10 days had gone by before I found the a form notice that my mail carrier had attempted delivery of a registered item that needed my signature. It said the item was being held for me at the post office.

I know that some kinds of mail get returned if not claimed within a certain time, but I wasn’t sure if this would happen with my item.

Form in hand, I called the phone number for the post office on the form and spoke to an employee there.

The ensuing conversation read like Abbott and Costello’s “Who’s on First?” routine.

PO: “Post Office.”

Me: “Hi, I’ve been on vacation for a week, and I got a notice that my carrier had tried to deliver registered package, but no one had been home to sign for it. It’s dated over a week ago, almost 10 days. Is it still at the Post Office, or had it been sent back to the sender?”

PO: “What’s the address?” (Spoiler: She probably should have asked if I had the form.)

I give it to her, she disappears, comes back on line.

PO: “There’s nothing there for that address. What’s your name?”

I tell her my name. (Spoiler: She probably should have said, “What’s the name of the addressee on your form?”) I start to ask if providing a tracking number would help, as there are a couple of numbers on the form, but she puts me on hold again before I can say anything more.

PO: “There’s nothing here under that name.” (silence)

Me: “Oh. Was it sent back already? Is there any way to track it? I have some…” (I was going to say “…numbers on this form” again but she says, “Hang on” and dashes off again.)

PO: “I’ve looked at all the packages and boxes, I looked in x, y, z places and it isn’t here.”

Me: “Oh, sorry, it says here that it’s a ‘large envelope, catalog or…”

PO (very exasperated): “Why didn’t you say so?? Hang on.” (Puts me on hold again, returns.) “Nope, nothing.”

Me: “Is there any way to track it? If I give you the number on the form…”

PO (interrupts): “You have a form?? Why didn’t you tell me that?!”

Me: “Well, I thought I did. Let me read you….”

PO (interrupting again): “Give me the number.”

Me: “Okay, there are several numbers on here, which one…”

PO (interrupting again, speaking louder and faster): “The (indistinct) number.”

Me: “The ‘what’ number?”

PO (angrily): “The (indistinct) number! On the back!”

Me: “Look, I can here you say ‘something number’ but I can’t hear what the ‘something’ is.” (silence)

Me (trying again): “I can’t tell which side of the form is the back or front, there are two numbers, one starts with…”

PO (interrupts again): “The (indistinct) number! On the BACK of the form!”

pause…. (I’m trying to stay patient.)

Me: “I can hear you say it’s a number and that it’s on the back. My confusion is it’s not very clear which is the front and which is the back of the form, and there are several strings of numbers. Is it the number starting with RF…”

PO (interrupts again): “No, no the number on the BACK!”

Me (cautiously): “Is it the bar code number?”

PO: “That’s not it! The BACK of the form!”

My tongue is now bloody from biting it so hard. I read her one of the other numbers, which thankfully is the right one. She puts me on hold again, and comes back.

PO: “Are you by any chance also known as ‘Durable Goods’?”

Me: “Yes, I….”

PO (interrupting): “Why didn’t you say so?? It’s right here. You can pick it up anytime.” (I refrain from telling her I answered every question she asked me, but she hasn’t answered any of mine yet.)

Me: “Well, actually, I’d like to have it….”

PO: “YOU CAN PICK IT UP ANYTIME!”

Me: “I’d rather….”

PO: “What else do you need??”

Me: “I’d like to have it delivered.”

PO: “You have to sign the form to have it delivered.”

Me: “Yes, I understand, I can sign the form, I just didn’t know if it were still at the post office…”

PO (interrupting, angrily): “Yes, I SAID it’s RIGHT HERE, you can pick it up anytime. If you sign it, you won’t get it til Friday.”

Me: “Friday is fine…Look, I…”

PO: “We’re busy, is that all?”

At this point I asked to speak to her supervisor.

PO: “Why? She’s not going to get that package to you any faster.”

Me: “Look, this is getting out of hand, I…” and she puts me on hold again.

Supervisor: “Your package is right here, you can pick it up anytime.”

Me: “I know that, I want to let you know how rude….”

Supervisor: “Hold on, the other phone’s ringing.” (puts me on hold) “Look, we’re pretty busy, you’re package is here and you can pick it up anytime.”

Me: “I know that, I’ve been treated very rudely by your employee. Don’t you care about that?”

Supervisor: “Well, I can’t help you with that. Goodbye.”(hangs up)

Now, I usually don’t engage in Post Office bashing. I think they move an incredible amount of mail at reasonable rates. And usually I am treated with courtesy in my interactions with them. Although I noticed the last time I was there that all the nice people have retired….

But if there were another option for mail service, I would have seriously considered it after this little incident.

All this, just because this person assumed I should know their procedures for registered mail. Which I get about once a year. And let me know how dumb she thought I was because I didn’t know.

If all queries are handled like mine was, I have my suspicions about why they’re so busy.

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Filed under art, booth signs, business, craft, craft shows, customer care, selling, selling online

GOOD BOOTHS GONE BAD #25: Booth Evolution

Folks, there will be typos…

But I can’t resist sharing this great article by Bruce Baker in the latest issue of THE CRAFTS REPORT.

In the February 2008 issue, Bruce shows the actual evolution of a typical craft show booth, from those typical craft table displays and blank walls to a sleek booth that really highlights the work.

I’ve sat through a lot of BB seminars, and I’ve seen a lot of his examples of “beautiful booths” and “creative display” in his presentation. I thought I was breaking form by being a “plain vanilla” girl when it comes to booth display.

So I’m delighted to see the points I made in my GOOD BOOTHS GONE BAD series echoed and put so succinctly…

“Beautiful” and creative” should NOT apply to your booth at the expense of your WORK. (sorry for all the drama bold & such, but this is a message I want to keep driving home.)

Now, there are still a few things I’d change in the booth. But it’s still a much stronger presentation than the earlier versions, and this article shows that clearly.

I think you can buy single issues from TCR if you don’t already subscribe.

p.s. Hey, if you look on that table of contents page again, you’ll see my latest artcile for TCR, too. (Not a blatant plug, but geez, a girl’s gotta earn a living…)

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GOOD BOOTHS GONE BAD #22: Say Something!

Here’s something else that drove me nuts at the show:

Vendors just don’t know what to do or say when someone is in their booth or looking at their work.

You see something that catches your eye and approach the booth. The person usually says hello. Then….silence.

You are aware of their gaze upon you as you browse. You can almost feel it. You can almost hear it: “Please, please, please, please by something!!!”

It is simply excruciating to shop when someone is staring at you, waiting, waiting, waiting for you to buy something. I feel like a mouse being watched by a very hungry cat.

At one small show I attended, the traffic was so slow, I could feel an entire roomful of craftspeople staring at me as I made the rounds of their tables. I almost fled.

The opposite is also irritating. The person starts asking silly questions: “How are you?” “Isn’t this a beautiful day?” “Are you enjoying the show?”

I’m such a crab. I hate questions like this when I’m trying to look at stuff. It’s like we’re both evading what’s really going on–“I’m shopping here!”–and pretending we’re actually making small talk at a party.

Or the vendor starts answering questions you haven’t even asked yet. You may be mildly interested in the product and you are instantly subjected to a full-fledged sales pitch.

People with this approach are caught in the same kind of thinking as “too much stuff”–trying to make something for everyone. In this case, they’re providing too much verbiage, hoping something they say will convince you to buy.

But the connection has to come first, not the reasons to buy.

You need to find a happy medium between babbling and stony silence.

I think this is also why I hate the standard craft fair “booth” set-up–the craftsperson sets up a standard table (that’s the perfect height for eating but a dismal height for shopping) and plunks themselves into a chair behind it. Both seller and buyer feel trapped into unnatural roles. And the model feels too much like a flea market. (Though, I bet with a little finesse, you would even buy more at a flea market if sellers were more savvy.)

Please, please, go buy Bruce Baker’s CD series on how to sell your work. He has such excellent insights into the sales process, the dynamic, the give-and-take you can learn with a little practice.

I’m not perfect at it. I still stumble and find myself caught short. I can’t close every sale easily.

But at least I’m not staring at people as they browse my booth as if they were my last meal.

Until your CD arrives, here are some tips:

1) Greet your customers after they settle into your booth–not as they’re walking in. Let them get their bearings first. You don’t greet guests to your home as they’re getting out of their car. You let them finish that argument with their spouse, gather their stuff, straighten their clothing, check their mirror for spinach in their teeth, and get to the front door. Then you greet them and bid them welcome. They need that little moment to change gears. Let customers have that tiny moment, too.
2) Say something neutral that doesn’t require a yes-or-no answer. What does every seller say? “Can I help you?” And what does every customer say? “No thanks, just looking.” Ow! You just gave your customer a chance to say no.

Try this instead: “IF I can help you, just let me know.” Or, “I’m just sorting some items, I’m right here if you have any questions.” And my favorite: “It’s okay to touch!”

3) Be busy. (But not too busy) Be occupied. (But not preoccupied.) Pretend you are a store manager of a little store. Arrange things, straighten things, restock, re-ticket, dust, wipe glass, any busy little task that seems appropriate to your role. Something you can drop immediately the second your customer indicates they need you.

Although Bruce cautions against out-and-out demonstrating, I’ve seen craftspeople working on little projects with good success. The key word here is “little”. As long as it’s not so involved that it looks like you’re actually demonstrating, it can be a good ice-breaker. And it lets customers browse in peace til they’re ready to have you talk to them.

My friend Carrie the hat lady knits hats while she walks around the booth. (Which is cool because women used to knit as they walked and herded sheep.) Or she works on embroidering a hat, with a pretty container of colorful yarns prominently displayed. What’s brilliant is that people can then choose the exact colors of yarn they’d like their hat embroidered with. (Actually, Carrie stumbled on this ploy by accident. She’d sold out of embroidered hats before she even got to this show, and was trying to catch up.)

Don’t be so engaged that people feel they are interrupting you if they have a question. Reading, talking on a cell phone, talking to fellow craftspeople, all make the customer feel intrusive. Your customers should never feel second-best! Be available the instant they need you.

4) So many craftspeople tell me everything they want me to know about their product–before I’ve even decided if I like it. I hate that. I’m standing there thinking, “Yuck!” and they’re talking a mile a minute. Now I really don’t like it. I just want to get out of your booth.

And don’t start talking as soon as they touch something or pick it up. A vendor did this recently. Every time I picked something up to look at it more closely, he started “selling” it. All that happened was I put my hands in my pockets and quit picking things up, so he would stop talking at me. (Please note the “talking at me” part.)

When I ask you about your work, go to town! Once I’ve indicated that I’m interested by talking to YOU, that’s your signal to start selling.

Let’s all vow to make shopping fun for our customers again!

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GOOD BOOTHS GONE BAD #18: Intervention

A reader just posted a plea for help on booth layout.

He set up a U-shaped booth at a recent show. Unfortunately, if a peek at the small sample of goods displayed at the top of the “U” didn’t capture people’s interest, they walked on.

He’s now thinking of a table across the front of the booth with “bits of this and that”, samples of everything he does. He’s dreading another booth redesign.

Okay, Tom, put down the pen and step away from the graph paper.

It’s time to look at how people act in your booth before we decide whether a different layout would work better.

There’s nothing inherently wrong with either layout, properly done. But the same things can go wrong with both.

In a nutshell, I would take a good look at three things in a booth redesign:

Can your customers get into the booth–mentally and/or physically?
Can your customers shop without pressure?
Can your customers easily see your best work, at its best?

Twenty (or so) Questions time!

Can your customers get into the booth–mentally and/or physically?

Could shoppers easily get into your booth?

Sometimes a U-shaped layout creates a bottle-neck at the front of the booth, especially if the display tables are too deep. Many craftspeople use those low, wide tables that are almost 3 feet deep. Place these around the perimeter of the booth, and you may end up with a central space only four feet wide. Not enough room for customers to move in! See this essay in the series for information on the butt brush phenomenon.

Did the front tables force people to stand out in the aisle? There are a lot of distractions out there! I would pull the tables at the legs of the “U” in a little, so people come into the booth a little.

Do you have enough signage to engage people as they look at your work? Are the prices clearly displayed so they have an idea if they can afford it?

Can your customers shop without pressure?

Where were you standing in the booth? And what were you doing?

Were you standing in the middle of the booth, staring out at the aisle? This always looks like the artist is guarding the booth. Not good vibes for shopping!

Were you standing someplace where you could watch your browsers constantly? I hate that! Every single guy did this to me at a recent craft fair I visited. I felt like a rabbit in a beagle’s doghouse. Not Snoopy’s doghouse, either.

Guys tend to stand with arms folded. Or with hands in pockets. Both tend to signal “I’m bored!” Women shoppers know this stance well. It is the “bored husband” stance. And we don’t like it. It takes away the fun of shopping. Ouch!

Where you leaping (figuratively) on people as soon as they came into the booth, forcing conversation on them before they could even start browsing?

Or (just as bad) totally ignoring them?

One of the most effective sales tips Bruce Baker has to offer is how to look busy in your booth doing business-appropriate activities.Try doing something a shopkeeper (because that’s what you are at a show) would be doing–dusting, pricing, arranging, restocking, etc. Simply let people know you are available for help IF they need you.

Then people can relax–and SHOP.

(See this collection of essays on <a href=”http://luannudell.wordpress.com/category/booth-behavior/”&gt;booth behavior</a> for more information.

Can your customers easily see your best work, at its best?

What did you display look like? Tell me you didn’t have EVERYTHING YOU MAKE laid out evenly on tables that were waist-high. (Actually, I hope you DID because you can easily fix that for next time!)

If the dichroic glass jewelry wasn’t pulling people in at that show, could you have switched something more enticing out there on those front aisle tables?

Can people easily see what you make? If it’s tiny, and only displayed on tables, try a large-format photo/poster of your work–a beautiful jury shot, an image of a model wearing the work, an environmental shot of the product in an appropriate setting.

This gets that information (“This is what I make”) to potential customers even across the aisle. (This also helps if you are thronged with buyers, and other browsers can’t even see into your booth.) (BTW, that is such a good problem to have, isn’t it?)

Now, about the idea of putting a table across the front of the booth….Here’s a fun exercise. Go to Flickr and search for “craft fair booth”. You will find hundreds of booths with that table-across-the-front-of-the-booth layout you’re thinking of trying.

Here’s what I noticed in almost every single image:

) The tables are invariably those standard folding tables everyone uses at craft shows. They are TOO LOW and TOO DEEP.

Even if a customer sees something they like at the back of the table, if they can’t reach it, they will not try to pick it up.

Go look at a fancy jewelry store in your home town. Note the height of the actual display surface of their cases. It’s higher than your dining room table, right?

) Every single seller is committing the #1 energy drainer in a show booth.

In almost every photo, the seller is SITTING DOWN.

It reminds me of seeing friends at a restaurant. One of you is sitting down, looking up (hungry!), and the other is standing there, looking down (suddenly aware of how hungry the diner must be.) The energy is weird.

Worse, the vendors are sitting down facing directly into the aisle. Every single customer has to endure the pressure of eyes upon them as they shop. (You can almost here their thoughts of “please please please buy something!!!”) It’s awful.

Raise your tables. If you must sit, get a higher chair, so you and the customer are on the same eye level.

And sit angled, and be busy, so people can approach your display and browse without feeling your watchful eyes on them.

) The tables are flush with the aisle.

There is no place where people can “get off the aisle”. They are standing in the aisle, open to every distraction of every booth around you. They are being jostled by the crowd behind them.

Get them IN your booth. Create an environment that engages them.

) There is always TOO MUCH STUFF.

And there is either NO display–just a jillion items laid out on the table.

Or there is TOO MUCH DISPLAY–so many cute baskets, fancy displays, patterned tablecloths, stacked boxes, etc., etc., etc., you can hardly tell what’s for sale and what isn’t.

All those subtle variations in your designs that are so obvious to you, the myriad color choices, are not obvious to your customer. It just looks like too much stuff.

Or even worse, it is all different. It looks like the artist has NO FOCUS.

The eye cannot settle. The customer cannot find that one special thing that might call to them.

They move on.

I started to link some of these issues to the appropriate essay in my GOOD BOOTHS GONE BAD series. But there were too many! I think if you have time to search the “category” box on my site for “booth design”, you will find almost all of these topics addressed more fully.

I want to say again, all of us make mistakes. My booth tends to be visually dense (a euphemism) and I struggle with this all the time. In fact, having only a three-hour set-up time at my next show is forcing me to streamline my offerings.

But I have managed to create a total environment, which helps. IF the work interests a customer, there is plenty to keep her engaged and entertained.

Until she finds that perfect piece she simply must have.

Don’t give up, Tom. You are doing the right thing–seeing what’s not working, and thinking about doing something different. Just focus on WHY it’s not working, and I believe you will come up with a way to do it better.

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Filed under art, booth behavior, booth design, booth signs, business, display, Good booths gone bad, selling

GOOD BOOTHS GONE BAD Addendum

I’ve gone back and put in a photo of my booth from last year’s League of NH Craftsmen’s Fair in the appropriate essays on booth design.

booth photo

No pointing fingers. I’ve already fixed the lights. And I’m already making changes for my smaller retail fairs this winter.

P.S. This is my booth shot for applying to juried shows. That’s why there is no signage that shows my name. Normally you’d see my name plastered all over this booth!

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MAKE ME BUY IT!

I did some market research this weekend, and threw in a little retail therapy to boot. I went shopping with a friend at a small local craft fair.

My friend is just starting out with a product she wants to make. I wanted her to walk the show with a different filter in mind–to look at how booths were set up, how product was displayed, and how people acted in their booths.

It was an eye-opener.

Afterwards we went out for coffee and discussed our experiences.

There were glaring omissions in the booth set-up, display, lighting areas.

But mostly, people had no idea how to sell their work.

I was surprised how little lighting was used. It made me realize that electricity is probably not even offered at most of the smaller fairs like this one. Someone had set up a couple of clamp-on lights, but they were the kind you use for task lighting at home. They were oversized, top-heavy, falling down into the display, and not putting out enough light to produce much effect. The hall was bright, so the lights would mostly have been for drama.

But it made me think how to use what electricity I’ll have at these smaller shows to the best effect.

I was also surprised how poorly delineated most of the booth spaces were. Some people were sharing booths, but many simply looked like they were sharing. That is, it was hard to tell where one booth left off and another vendor’s space started. It was embarrassing to ask a question of someone seated behind a table, and have them glare at me and say, “That’s not MY stuff, ask HIM!” with an angry nod to their more popular neighbor.

That made me realize that even a very modest “walling” of my booth will have a huge effect. The lack of a fully walled booth will not hurt me much at this kind of show. I’ll think of other ways to create a secluded environment in my space.

I don’t think any of the booths had any kind of flooring, and in this environment, that was not detrimental.

People seemed to have either too much display stuff, or too little. Too little–product simply laid out on a plain table top, like a flea market. Too much–we couldn’t tell what was product and what was display! As an example we didn’t actually see at the show, if I see ten different kinds of wooden drying racks with mittens pinned to them, I would like to know instantly if mittens are being sold, or drying racks. Or if you are actually selling the clips holding the mittens to the drying racks. Or you are selling a decorative item which consists of a faux drying rack with fake mittens…..

I noticed most booths had very little signage, or poorly utilized signage. One person had a tiny booth filled with her goods–too filled, as there was only room for one person at a time to actually be in the space. (And once you were in there, you were keenly aware of other people behind you waiting for you to leave so they could look, too.) No pricing anywhere. When I finally asked how much an item was, the artist pointed to a handwritten sign stuck off the the side with the price of everything in the booth carefully listed on it. Like I’m going to stand in the booth skimming the list looking for the item I’m thinking of with that crowd muttering behind me….

I realize I will be a totally new vendor at the smaller retail shows I’m doing, with a brand new audience. I must be sure everything is clearly priced, and that my signage quickly tells my story.

I saw the person who makes “a little bit of everything”, including some items that were obviously buy-sell–which inadvertently made me question everything else in her booth.

I realize that, though I have no idea which of my “lines” will appeal the most at my upcoming shows, it will still be better to streamline them into a few cohesive lines. Or to group things in a way that makes sense and hangs together, yet still offers enough variety and choice.

Most of the vendors would stare at us as we shopped. You could almost hear their thoughts over the din of the crowd: “Buy something buy something buy something oh please dear god BUY SOMETHING!!” The men were the worst–they would stand there either with their ams folded or their hands in their pockets, staring or talking nonstop.

But not saying the things that would encourage us to buy.

I started a little experiment. I actually started selling stuff for them.

“You have to try this cream!” I exclaimed to my friend. “I’ve been using it for years. It is absolutely the only thing I’ve found that works on my dry feet.” I went over the things I liked about it. I have to tell you, the packaging on this stuff looks like it was designed by the tractor company, John Deere. There is no schmoozing of the product in the packaging or anything. But I buy it because I know and like the vendor and because it works. Slowly, a small crowd formed around us. My friend was impressed with my testimonial, and bought some herself.

I met up with another friend the next day, and she said that show is typical of “shows in Keene.” In Keene, she says, “It’s all about price.” People in Keene just won’t spend money.Well, I have been in some homes in Keene over the years (!!!) and I’m here to tell you, people here have just as much money to spend, and inclination to do so, as people anywhere else.

Here’s proof:

We looked at some beautiful wood boxes, which my friend collects. She admired one square box that turned out to be a sort of night light or lantern. But not until she’d decided to buy it did the guy open it and show her there were multiple panels inside that allowed her to change the scene.

And she had nearly walked out of the show before I convinced her she really should go back to that guy’s booth and look again at his boxes. She almost never knew about those panels.
She almost bought nothing at all, thought she clearly loved the work.

Because I knew how much she wanted those bowls, I urged her to go back. And she ended up spending a nice chunk of change in that booth.

So what was missing for that guy to sell his bowls at that show? I’m sure the guy is convinced that people in Keene just won’t spend money on nice wood bowls.

In fact, my friend I was shopping with had plenty of money to spend, and wanted to do so.  She collects wooden boxes, fercryinoutloud.

But she had talked herself out of buying one. She has “enough”, she “doesn’t need more”. Just what we all tell ourselves when confronted with something we love.

People, it’s not about the price.

I think if you have a remarkable product, and if you price it appropriately, and if you display it nicely, and are able to talk about it intelligently, you can sell it.

My friend needed to have that box pitched to her so she could give herself permission to buy it. She needed someone to tell her that it’s okay to collect boxes. It’s okay to love them. It’s okay to enjoy them. It’s okay to display them. It’s okay to show them to your friends! Heck, I didn’t even know she HAD any wood boxes. I’ve never seen them. (They’re all upstairs in the family’s private quarters, it turns out.)Let me pick on this wood box guy. Because he had a nice product at decent prices.

If I were him…..

Instead of displaying a ton of boxes and bowls on plain lattice shelving, I’d set aside at least one section of a wall for a few beautiful display shelves–NOT unfinished pine, which made the boxes look like cheap pine, too.

I’d put my best pieces here, including the lantern. I’d make it look like it was someone’s private collection of beautiful handmade wood bowls and boxes (which, just coincidentally, all happen to be made by “moi”.) Maybe two or three displays–one for a formal living room, one for a children’s room, or a kitchen.

I bet if he had, my friend would have started thinking, “Wow, that looks beautiful, having all the bowls displayed like that.” And then, “Hmmmm….maybe I could do that in our living room….and another display of my bowls in the kitchen…..?” “Oh, wouldn’t that lantern look nice in my daughter’s bedroom?!” And then…”I could do that, and I would have more display room to buy a few more bowls!”

I’d have a few–a very few–obviously decorative accents–perhaps a few small branches of fir branches, some candlesticks, perhaps a stack of lovely old, well-read children’s books on the “children’s” shelf. The lantern, I’d set up with a light inside, just as it would be used. (If there’s no electricity, I’d get a nine-volt battery and hook it up to a 4-watt light bulb for this purpose.)

I’d have a sign that said “Handcarved lantern–Four gifts in one!” and a little blurb with something like “Perfect gift for that special niece or nephew!” or “Great wedding gift!” or “A housewarming gift they’ll enjoy for years to come!” Maybe even “gift box available!”

I’d either make it very clear there are four panels that are interchangeable, AND they all store neatly inside the lantern when not in use. OR as soon as people seemed hooked on the lantern itself, I’d show them the extra panels. What a finale!

If people still weren’t sure, I’d tell them the story of how my kids always needed a nightlight because they were a little scared of the dark when they were small. But the nightlights were always on the floor in the outlets, and they weren’t very pretty. So I made one that could sit on their table by them at night.  (“Oh, my child/niece/grandchild is afraid of the dark, too–this would be perfect!”)

Or if they don’t have little ones, I share the story of how I made one for our familiy for Christmas, but my wife loved it so much, I made a different panel that could be put in after Christmas, with a different theme–and realized we could now use it year-round. (“Hey, this would be one Christmas decoration I wouldn’t have to pack away every year!”)

And how I’d made one for each of our kids, so they’d always remember our Christmases together.  (“Hey, I could get one for each of my kids!”
And every year, I’d offer another set of 2 to 4 new panels for people to come back and buy. Perhaps even a few limited editions. (“Get ‘em now, because there’s only so many of these.”)

When someone new asks if they are good gifts, I’d be able to say, “Yes, not only do people come back to buy more panels every year, they buy MORE–because the people they gave them to like them so much!”

And I’d have a little gift enclosure card to go with each one, telling them about the little retired guy who used to make these for his grandkids and figured other people might like one for their grandkids, and now you can have one for your grandkids. Or sister, or niece, or friend. With a little contact info so they can order new panels from you, too.

Don’t you just want to run out and buy ten of these?!

And for heaven’s sake, I’m not going to tell you I’m going to be at another show in a week and you can get them from me then. And I’m not going to tell you I have a website, either, until AFTER you’ve purchased it. I want you to buy it NOW. I’ll tell you if you realize you could use more of these as gifts later, you can order more from my website.

To wrap this up, it’s all about how you act in your booth and how you talk about your booth that’s going to turn a show like this around.

Here are some things to think about for your next show:

Figure out a game plan for talking to people. There were people who totally ignored us when we came in the booth, and people who hung on us like lemurs.

Pay attention to business. There were vendors who stopped to take calls on their cell phones while we were waiting for our purchases to be wrapped.

It’s a short show–stay in your booth! Wives left husbands to mind the booth while they went to chat with other vendors–and their husbands knew absolutely nothing about the product.

Be of service to your customers, and help them S*H*O*P. There were vendors who watched as I struggled to look at an item with one hand while holding my purchases and struggling to maneuver with my aircast who never said, “Here, let me hold your packages for you a minute while you shop”, or “Let me help you get that down.”

Listen to your customers. One woman kept trying to sell my friend a doll’s nightgown for a 16″ doll after my friend said her daughter had a 10″ doll, and the vendor had already said she had nothing for a doll that size.

Don’t be afraid to let your customers know you love what you do. Tell us why you love it, and make us love it, too!

Get serious about selling. Your product is simply not going to sell itself, no matter how wonderful it is.

And it IS wonderful, isn’t it?

You know I want it.

Make me buy it!

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Filed under art, booth behavior, booth design, booth signs, business, display, lighting, selling

GOOD BOOTHS GONE BAD #10: Mystery Product

Have you ever walked by a booth and couldn’t quite tell what they were selling?

Worse, maybe the booth was full of people, which intrigued you. But the booth was so full, you couldn’t get in. And you couldn’t see the product for the crowd. “I’ll come back,” you may have thought.

But with no visual clue to even remind you later, you probably didn’t.

This is the booth with the Mystery Product.

When your work is very small (like jewelry) or your display or display fixtures are as visually domineering as your product (you make picture frames but not the images you display them with, for example) or if your booth is constantly full of people blocking the view from the aisle, it’s important to signal to people outside your booth exactly what it is you’re selling.

I struggle with this constantly. My wall hangings are vibrant and easy to see. But it’s not always obvious what makes them special–the fine detail, the embellishments, the incredible stitching and layering of fabric.

Also, it’s not immediately obvious I also sell jewelry. This is because I love to display my jewelry on tall stands and cases, with the pieces laid on paper backgrounds or display bean bags, as if you were looking down on a museum display.

But this means no one can actually see my jewelry until they come into my booth.

So how do I let people know?

Big, big pictures.

I started using large-format photos as posters early on, and it has helped hugely. My photographer has a huge printer capable of printing out big images of my work. But places like Kinko’s and Staples can do this quite easily, and cheaply, too.

If you don’t have such a resource near you, try on-line vendors. There are a lot of them nowadays! I just googled “poster from photo” and found services starting at under $20 for a 24″x36″ print.

You can use inexpensive and lightweight poster frames to finish off your print. I had my first few professionally framed in black metal frames, the kinds where you buy two sets of two “sides” and screw them together. What are those called???

Your photographer or a graphic arts service can also print out your poster text–it’s good to at least have your name on it–but in a pinch, you can even just print out one huge word at a time on your home computer. (I vacillate between “Luann Udell” and stuff like “Luann Udell fiber and polymer” or “Luann Udell Mixed Media”.)

If you are neat about it, you can just cut and paste the individual words onto your poster since one word printed in a GIANT FONT will obviously fill an entire sheet of paper. (The original cut-and-paste function, pre-computer!) From six feet away, it will look all of a piece.

One or two posters, hung just high enough to be visible over a crowd, will be easily seen from the aisle.

And now everyone will know what you sell.

Many people use one of their jury shots–a straight-on shot of a single item, on a neutral background. But you can get creative here.

An environmental shot shows something in an appropriate environment. This is great for stuff that doesn’t have an immediately discernible scale or purpose, like, say, a floor cloth. It could be a card, a place mat, a rug…. But do a shot of a big floor cloth on a floor in a room, and it instantly reads as “Floor cloth! In YOUR home! Making YOUR home look as great as THIS!”

A model photo of someone wearing your clothing or jewelry is compelling. One big mistake, though, is focusing on the model over the work. Avoid having the model actually looking into the camera, or even looking out. Make sure any lighting highlights the WORK, not the model. Leaf through fashion magazines. Pay attention to what compositions let you focus on the jewelry or clothing, and which are the ones where you find yourself staring at the person wearing them. Avoid shots like the latter.

Detail shots show a small part of your work. Sometimes it’s obvious what you’re selling (clocks!) but what’s charming about them is small (hand painted flowers!) Here’s where the opposite image can help–a beautiful detail shot or close-up. My photographer has a signature photo style–he will intentionally have the image bleed off the edges. Oh! That sounds terrible! I mean he will show the image partly out of the frame. It gets you “closer” to the product, allowing for more detail, but you can still tell what the item is.

One of the most intriguing posters I ever saw was in the booth of an artist who did simple, enigmatic wooden folk dolls. The image was a small grouping of them, but only from the shoulders up. I borrowed this idea for one of my best known images. You can see it here on the far right of the banner: My home page It’s still one of my favorites, too.

In fact, some people use an actual banner in their booth instead of just a single poster or two. I have one, with my name and some images of tiny details of my work. I had a local graphic arts service design A Sign Stop (their site loads slowly in this preview pop-op, try opening in another tabe or window for best results) and I think they did a beautiful job. But I think my posters look more “upscale” and my banner looks more “craft show”. “Banner” just doesn’t say “art gallery”. That’s just IMHO, though. I do use my banner at shows, but above my sales station now.

Lately I’m experimenting with more “vertical” ways of displaying my jewelry. I’m actually thinking of going back to those plain black velvet upright displays. I think a few of them might help signal that there are cool little wearables somewhere in there….

But for now, a couple of great posters–one showing a beautiful detail of my wall hangings, another featuring a glamor shot of my daughter wearing a stunning necklace–will tell the story for me.

For good images of detail shots, do check out the banner on my home page once more: Banner on my home page You will see close-ups of my fiber work, jewelry and sculptures. If you explore the site, you’ll find many other images that would work well as posters. You’ll see examples of plain jury shots and detail shots in the jewelry section, an environmental shot with detail shots on the wall hangings page. I’ve posted the model shot of my daughter before, but here it is again: Robin looking gorgeous

I hope it inspires you to get creative with your own ideas.

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Filed under art, booth design, booth display, booth signs, business, craft, craft shows, display, Good booths gone bad, jewelry display, selling, shows