Tag Archives: craft booth

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

JEWELRY DISPLAY #1: Thinking Outside the Box

When it comes to displaying your handcrafted jewelry, you have a lot of choices. There are tons of commercially-made products available to you. The choices can be overwhelming.

They range in price from the incredibly cheap to the ridiculously expensive. (By the way, those inexpensive stands are cute, but not very stable. If you use them, you might want to attach them to a larger base of some kind.)

You can find displays made of white leather, black steel, wood and plastic. You can find display stands with feathers, glitter, sequins and in twelve colors. You can find styles like contemporary, country, funky, whimsical, Victorian, romantic, techno, whatever your little heart desires.

There’s a fine line between displaying your work creatively without overpowering the work. I’ve seen displays so elaborate, it was hard to tell what was being sold–the jewelry or the display.

But simple, repetitive display can be boring. I’ve seen displays so monotonous I didn’t even want to stop to look them. One awful example is a common one: Row upon row of white necklace bust stands lined up in a straight line, every one holding a single necklace, each necklace the exact length and design.

It’s mind-numbing to see these “jewelry soldiers on parade”. And yet it’s possibly the single most common jewelry display I see at craft fairs.

One problem with jewelry is, if you display it on an upright display (like the white necklace busts) so people can see it from the aisles, it’s hard for people to actually look at the work easily. You have to sort of bend over to get it back at eye level.

If you display it at a good viewing level, and laid flat (on velvet pads, for example), it’s easier for people to look at. But it’s hard to catch the attention of people out in the aisle. They may not even be able to tell what you’re selling. (Good over-sized photos/posters of your work on your walls can help overcome this.)

Even if you find the perfect commercial display product, if it’s too popular, your display ends up looking like everyone else’s.

I’d like to show you some ways to mix up your display, using commercial and non-commercial display products. Some weren’t even meant to display jewelry at all.

Excuse the not-ready-for-prime-time photography and set-ups. I just wanted to give you some quick examples of non-traditional display pieces and ways to mix and match components without your display looking all over the map.

This vertical necklace stand by Vilmain is one of my favorite display units. It’s upright, stable and holds several necklaces. It’s relatively flat for easy packing and shipping to shows outside your area. It’s pretty sturdy–no fussy little parts to break off or get bent. The black painted steel is neutral, and allows your jewelry to take center stage. It could work with many different styles, including contemporary, funky, elegant, or whatever-style-you’d-call-my-work. (I’ve been told it’s “post-modern”, which sounds ever-so-cool, but I’m still not sure what that actually means…)

The next image shows my Ancient Bull Pendant necklace on a similar stand. It’s the same material and color as the Vilmain stand, and does a decent job showcasing my bigger, bolder designs.

But this second jewelry stand isn’t a necklace display at all. In fact, it’s something I purchased at T.J. Maxx. It originally held two pieces of shaped glass, which sort of formed a vase. I would take a picture of it in it’s original state, but I’ve ditched the glass already. Hey, I found something very similar here. I just love that Google “image” feature….

I guess they weren’t too popular, because they were marked down to less than $10. A month later, I found the same item at Marshalls’ and they had been marked down, too. I bought about four of them, and use them interspersed with other display pieces.

I’m off to pick up the images for my new Etsy shop. I’ll pick up this thread tomorrow with more tips and examples of how to mix up your jewelry display.

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Filed under art, booth display, business, craft shows, display, jewelry

GETTING PEOPLE OUT OF YOUR BOOTH #10: Don’t!!

A reader left a question for me on this series:

“Would you discuss one other group of people that one sometimes needs to get out of the booth — the people with kids who think everything in your booth is something neat to play with?
OR the adults who think your booth is a cool place to let the kids handle everything? Especially with sticky, gooey fingers? I’m a spinner/weaver, and trying to figure out how to say nicely, “Only with clean hands, please…” Dirty sticky yarn doesn’t sell well…”

Actually, you don’t need to boot these people out.

Use them!

How you deal with kids signals other potential customers how you will deal with them if they do something stupid. (Accidentally, we hope!)

A little patience, and some little tricks along the way, will go a long way to creating a relaxed atmosphere in your booth.

Use these moments to educate the kids about your work. They’ll either be enchanted, and you can work you sales pitch gently into the talk.

OR they’ll get bored, because now it sounds like school, and they’ll lose interest, moving on to the next exciting booth to manhandle.

Remember: Every other customer will be listening intently.

Trust me. One of the most important things I learned from Bruce Baker is that what people overhear you telling another customer is perceived as being the truth. Use this opportunity to tell everyone in your booth about your work. (Er…but not loud enough that people two booths over can hear you….)

I know there are some children who don’t behave well. But I’ve only had a very few incidents where the child was actually destructive or totally disrespectful.

For the sticky fingers, here are some ideas:

Keep a “special skein” available behind the counter for kids to touch, maybe even a few samples of roving–something you won’t care about if it gets messed up. Come on, we ALL have those dud projects hanging around somewhere. Now you can put it to perfect use!

I keep a package of baby wipes handy. When a child starts pick something up, I quickly say, “Here, let me help you.”

I ask in a friendly way, “I have a special yarn for kids to touch. Are your hands clean?” They usually get a little settled here. You’re starting to act like a teacher or a parent. They usually nod solemnly. “I say let me feel your hands.” You can tell instantly if a kid’s hands are clean! If they are, give them the sample skeins. If not, hand them a wipe.

I say, “It’s okay to touch my work, as long as you treat it gently and with respect. I’ve worked really really hard to get it to look just right.”

They usually respond with another solemn nod.

Then, depending on the age of the child, I talk a little bit about the horse. I point out all the tiny layers that make it look like ivory. I point out all the little details that make it special. If they are pre-teens or older, I talk about how four teenage boys discovered the first, and most beautiful Ice Age cave art in the world. They are enchanted that someone their age did something so incredible.

Okay, Alta Mira in Spain was discovered first, but no one knew what it really was until after Lascaux.

As I point out each detail, the parents start looking, too. And so do other customers. Everyone starts to really see the work. Sometimes I even see other customers finally reach out to touch a piece they’ve been looking at.

This permission to handle your work with care and with clean hands and under your supervision helps to create an air of respect for your work. The dynamic changes. Instead of “play time!”, you’ve created a teachable moment.

Use this moment to talk about your work with love and pride, and I think you’ll find that most kids will respond to that. And their parents will be grateful.

Don’t get your hopes up! I’ve found over the years that the parents rarely buy anything. You’ve provided that edutainment (education + entertainment) that Bruce Baker talks about so often.

View this as your contribution to fostering appreciation for the arts and crafts for a future generation.

Actually, sometimes parents do buy your work, if the child gets attached to your product and your work isn’t outrageously expensive. They buy it as a souvenir of the experience you’ve provided, or to foster a budding interest in the child. I have had parents buy $50 and $75 items because their child was so fascinated with it. (And sometimes those are the most difficult kids, because their parents do like to indulge their kids.) Don’t be too hard on them. We all know how tough it is to be a good parent, even the best parents have their bad moments.

You can adapt this script to work with other products as well. I keep a couple artifacts behind the counter, or pick up something sturdy like one of my netsuke animal artifacts. It’s neat to have two, because then the child can choose which one to hold, which adds to the fun (and helps capture their interest.) This also helps if there is more than one child, because then everyone can hold one. Fun for all!

If your work is just too delicate or fragile for such handling, have a sample of the materials you use, or one of your tools, or again, a cast-off piece that you don’t care about. You can actually use this approach for adults, too.

Treating children with respect and genuine warmth pays off in other ways, too. A regular customer brought his son in last year. The boy had visited every booth in the fair, looking for that special something to spend his money on. His father said, “When we finished, he didn’t even want to look again–he came right back here to buy this!”

He pointed to a small wall hanging for $350. That boy had saved a lotta money!

I was honored a child would be so enchanted with my work, he would actually buy such a fabulous piece.

And I was doubly glad that I deal with kids the way I do!

Here’s another reason–a BIG one–why you don’t really want to get these people to leave:

Human beings are born yearning to touch things.

Touch is how we explore our world, and we rejoice in the experience.

“Feel how soft this sweater is!” we exclaim as we shop. “No, not this scarf, it’s too scratchy.” “These pears are too firm, but those pears are just right!”

We constantly talk about how things feel: “Oh, this puppy’s fur is so fluffy!” “I love to walk on the beach and feel the sand between my toes, and feel the wind in my hair, and play tag with the waves.” “I can’t stand wearing that shirt because the tag is scratchy!” “I love it when my kids hug me.”

When we tell children not to touch, we are asking them to go against their very nature. Our very nature. When you see people enter your booth with their hands behind their back, it’s because the temptation to touch is so strong (and they know they “shouldn’t”) they have to physically hold themselves back.

I’m lucky to use a material that’s sturdy and durable. I know not all artists have that luxury. But when I tell people that it’s okay to touch my work, and to feel free to pick up a piece to look more closely, their relief–and joy–are palpable.

It creates an incredible feeling of participation and delight in my booth.

Try to find ways to let people touch something in your booth. Your customers will be happy, your visitors will be charmed, and you will feel better all around.

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Filed under art, booth behavior, business, craft, craft shows, customer care, getting people OUT of your booth, mental attitude, selling

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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Filed under art, booth design, booth floor, booth signs, business, Good booths gone bad, marketing

GOOD BOOTHS GONE BAD #24: When “Perfect” Isn’t Good Enough

Sometimes perfecting the best booth you have isn’t good enough. Sometimes having the best booth, period, isn’t good enough.

What I mean by the first statement is, sometimes we get stuck trying to perfect something that isn’t the best solution in the first place.

Take my search for the “perfect track lighting.” I constantly worked, reworked and replaced my track lighting for my booth. I experimented with light bars, cross bars, looked for more reliable systems and flexible lamps.

I finally got to the point where I realized I hate track lighting. It’s just not the best solution for my booth. The last two shows, I didn’t use any track lighting at all–just gooseneck clamp-on halogen lamps. They are easier for me to ship/pack/set-up and have fewer things to go wrong (fewer electronic connections, for one thing!)

Or my search for the “perfect table display”. My very first booth set-ups included those dreaded folding tables I’ve been harping on throughout this series. I experimented with different drapes and decorations. I tried to make them taller. Then bought narrower tables–before realizing I was never going to get them into my little car. And I was never going to get the professional-looking display I needed with them. I invested in Dynamic Display cases, sometimes augmented with Abstracta, and never looked back.

Then there was my search for the “perfect pipe-and-drape walls”. I struggled with various fabric walls–purchased pipe-and-drape, making my own drapes, adding various shades and blinds to make them stiffer and more stable for displaying my wall hangings. The happiest day of my life was the first day I set up my new Propanel walls.

So sometimes you have to persevere to find the right working version of something for you. But sometimes you just have to start over with something totally different.

Then again, sometimes even that perfect booth isn’t enough.

In 2007, I did two wholesale shows with my “perfect booth.” Okay, I know it’s still not perfect in many ways, but it was beautiful and got rave reviews. The display fell away, the work stood out, and was well received.

But I had the right work at the wrong show. Or the wrong work at the right show, if you want to look at it that way. I had de-emphasized my jewelry to promote my fiber work. It didn’t work.

You can have the best booth in the whole world. But if you have not targeted the right market for your work, you will not do well.

If you don’t do a preshow mailing to your audience, they won’t know you’re there.

If your work is high-end, and the show is low- to mid-end, they will not buy.

If your work is contemporary, and the show is country/folk, they will not buy.

If you specialize in Christmas decor and it’s a retail show in spring, you probably will not do well.

If your work is a little pricey and unusual and not a gift product, you may not do well at Christmas shows.

So what’s a craftsperson to do?

Stick with it. Observe. Learn. Get better.

And laugh.

No one said it would be easy. If it were, everyone would be doing it!

You keep doing it because you believe in your work, and you believe there are people out there who will love it as much as you do.

You try this, you experiment with that, you tweak this and you replace that. You work hard to get into that dream show, that perfect show for your work. And a few years later, you struggle to find the courage to leave that “perfect show” that is no longer the best marketing strategy for your work.

There is no “finish line” you cross where you finally realize you’ve made it. There is no final formula for success.

There is only another exciting challenge ahead of you.

The downside? It can be exhausting.

The upside? It’s good for you! Aimee Lee Ball writes about “THE NEW & IMPROVED SELF-ESTEEM” in the January 2008 issue of OPRAH magazine. Research shows that the brain grows more neurons when challenged. By struggling to figure this stuff out, we get smarter, and more competent.

So don’t despair if it all seems like too much sometimes. Remember–this is IQ training for your LIFE.

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Filed under art, booth design, business, craft, craft shows, Good booths gone bad, life, mental attitude

GOOD BOOTHS GONE BAD #23: Be Different. Please.

I’m going to pick on jewelry booths today, partly because there are so many of them at shows. And because it’s just a good example of what’s wrong with so many of these shows.

PLEASE NOTE: If you are perfectly happy with your work and your shows, don’t read any further. It will just annoy you. If you are having the degree of success you want, don’t change anything! It’s working for you, and you don’t need my opinions on what you’re doing.

But if you feel like you’re struggling and can’t figure out how to get ahead, it may be time for you to hear this:

How much dichroic glass does the world need?

I’ve visited a lot of smaller shows in my area this season. And at every single one, there are at least two, three, sometimes four craftspeople working with dichroic glass jewelry.

Is there anyone who isn’t working in dichroic glass?

More importantly, is there anyone doing something different with it?

Of the last two to three dozen dichroic glass jewelry booths I’ve visited, I saw one person–ONE–who was doing something a little different. That person had made round beads. And that was only featured in a handful of designs. (Actually, I’m not even sure you can form dichroic glass into round beads. She may have been using purchased beads that just resembled dichroic glass….?)

Dichroic glass is popular because it’s colorful and bright. It’s also chunky and clunky. I have a feeling you can now also buy it at craft stores like Michael’s.

That means you’ve either got to be absolutely brilliant at working with it….

…or it’s time to move on to something else.

Another overused jewelry category is necklaces made with beads anyone can get. The pattern is something like “Bali spacer, semi-precious stone bead, Bali spacer, semi-precious stone bead, etc.” Sometimes someone goes out on a limb and uses two Bali bead spacers. Or two different colors of stone beads.

Dichroic glass, semi-precious stone beads, Swarovski crystals, Czech glass beads (or worse, cheap Indian glass beads)… Whatever. These ready-made materials are easily available, and they have saturated the jewelry market. In the end, it’s hard to come up with anything really different, innovative or unusual.

This kind of jewelry-making is called “bead stringing.” And the word “bead stringer” has become an insult among jewelry designers. I couldn’t see why until I started visiting websites and perusing craft fairs again, and browsing on-line handcrafted jewelry sites.

It’s because that’s ALL that’s out there.

I know it’s how we all get started. I know, I know, I know. I did the same thing when I first started out.

But it seems like in the last ten or twelve years since I started, everyone and their sister is now making jewelry. Access to supplies and resources is easier than ever. Anyone can make it–and does, it seems. If a ten-year-old can do it as well as you (and yes, at an Arts Business Institute seminar, I once mentored a ten-year-old who made jewelry almost as well as anything I’ve seen so far) then that says something.

And a ten-year-old may outsell you with the same work, as you’ll see below.

When everybody is doing the same thing, then it becomes all about

a) pricing
b) salesmanship
c) presentation
and d) story.

You can compete with your pricing. But you must understand that when it comes to price, there is no bottom. There are stores importing huge amounts of sterling silver and semi-precious stone jewelry from India, China, Indonesia and you cannot underprice them. I’ve seen sterling silver rings with semi-precious stone cabochons for under $4.00 at gift stores. I’m sure they are not very fine rings. But they looked okay, and if your work’s only competitive edge is price, then your customer will choose that $4 ring over your $12 ring.

You may be happy with your sales at your smaller craft shows offering low prices. But you will not be able to grow your business much past a small local market. You will only attract bargain-hunters. And you will not be able to wholesale to stores and galleries.

Presentation helps! The only booth with semi-precious stone beads and silver jewelry I even paused at had decent presentation and display–coordinated colors in table cloths and drapes, nice banners, beautiful display. And she had slightly more original designs.

But in the end, it was all still so much like everything else out there. And I passed.

Salesmanship helps. Knowing how to act when customers stop to browse will go a long way to closing a sale, and we’ve seen how very simple questions and statements can give your customers the emotional space to do just that.

The last thing that can help set your work apart is story. Being able to share with your audience why you do this is a huge edge. (Please, not because you love it. Frankly, why should I care?? When an artist says, “I just love color!”, I have to bite my tongue to respond with, “So who doesn’t love color??!”)

And here’s where than ten-year-old is going to beat you out. Is there anything cuter than a 10-year-old with the entrepeneurial spirit? If her work is just as good as yours, or even almost as good as yours, I’m going to buy her work to encourage her to follow her dreams. Or make enough money for her to go to summer camp.

Once again: If you are in this to make a little money at Christmas and to have a little fun, then ignore everything I’ve said in this post. As I said, we all have to start somewhere. I’d hate for you to see the kind of work I started with!

But if you have bigger dreams in your heart, then start thinking ahead. Use the money you make from these shows to take classes, to gain more skills, to expand your techniques, to buy better materials and tools.

That’s what I did.

When your season slows, take time to look into your heart and explore what you really want to come of all this hard work and perseverance.

That’s what I did.

Make sure you have a good product that’s different, high quality, that you absolutely love to make.

That’s what I did.

Because when you find your audience, you’re going to be with this product a long, long time.

Make sure it’s something you can live with, something you can be proud of making for years to come.

Make sure it’s the very best you can do. And take every opportunity to make it even better.

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

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