GOOD BOOTHS GONE BAD #12: Drama Queen Flowers

I can’t think of big huge categories to talk about anymore. Let’s talk about flowers in your booth.

WHAT BEAUTIFUL FLOWERS!

I am so conflicted about flowers. I love them. They add a festive note to your booth, to be sure.

But they can be a huge distraction, too.

Some common mistakes with flowers:

1) Common flowers. Some flowers just scream “grocery store purchase!” Skip the mums.

2) Fake flowers. We’re trying to sell art here. Or fine craft. Or at the very least, handmade stuff. What do plastic flowers say??!!

3) The wrong color flowers. Make sure they fit in with your color scheme. It’s amazing, but an “off” color in your arrangement can really grab the eye in a not-good way. (Yes, I have made this mistake.)

4) Overkill. Too many flowers. It looks like you’re actually selling flowers. Or the flowers overwhelm the vase they’re in. Potters do this sometimes–the flowers are more attractive than the pots. (This is not a slight to potters, just that they’ve picked flowers that are not fitting in with their work.)

5) Underkill. (I know, there’s no such word, but I couldn’t resist.) Scraggly, ungenerous displays spread too thinly throughout your booth. Potters do this all the time, too. They show dozens and dozens of vases, and want to show that the pieces are, indeed, vases. So they take one or two nice bouquets and break them apart, sticking a few stems in each vase.

The look is one of a person who collects so many vases, they no longer have enough money to spend on flowers to put in them.

6) Too, too beautiful. This is the worst thing. You have only a single beautiful display of flowers, and you don’t sell vases, you are just decorating your booth.

The problem here is, the flowers are the most eye-catching thing about your booth.

Some people think this is a way of pulling people into your booth. Yes, it works. The catch is, WHO are you pulling into your booth?

People who love flowers, that’s who.

One year I spent big money to have a local artist make me a gorgeous arrangement for my booth. The colors were great, it looked great in my booth. And I got lots of people coming in, asking me all kinds of questions.

About the flowers.

They’d ask if I’d grown the flowers. When I said no, they asked who did. I told them about the fabulous flower person in my home town. They’d ask about the flowers (miniature gladiolas.) Where did I get them? Did I have a garden? They’d tell me about their gardens and gladiolas.

Which led to long, involved conversations with people who actually had very little interest in my work.

If I were a gardener who was selling flowers, it would have been great. But I’m not.

By the second day, I got it. I took the lovely flowers home to grace my home. I substituted a plain vase of dried reeds. You can see this vase in the back left hand corner of my booth here.

It was just as good a “prop” for my little environmental display in that corner, but it did NOT distract from the art anymore.

Even if you are at a wholesale show, where presumably buyers are a little more focused, an incredible display of flowers can be a huge distraction.

I saw one jeweler at a high-end show who had the most fantastic display of orchids. As I walked by her booth (we were on the same aisle), those orchids caught my eye every single time. I kept going into her booth to look at her work–and all I could look at was the damn orchids. It was like an enchantment.

Lose the drama queen flowers.

And just in case you think I’m exaggerating….

Two years ago, AmericanStyle magazine did a huge article on me and my studio. Page after glorious page of images of my work, my worktable, the artwork in my home. Lots of pictures of me, me at work, me next to a fabulous wall hanging.

The photo shoot, which you can read about here was a day-long affair. The photographer brought two bunches of tulips from a flower shop in his neighborhood. They were the only tulips he could find in Boston, and because they were not fresh, they were cheap. We used them in several shots–in my studio, in my home–switching the vases around, etc.

I cleaned my house for weeks. My studio looked fabulous! You could see the floor!! There were no shoes or dirty laundry piles in my home. We looked civilized! Or at least like we had no kids or pets. My artwork looked incredible!

I have a jillion copies of the article, and I show it proudly to anyone who visits my studio. I even made a poster out of it.

And there’s always someone who says, “Where did you get those lovely tulips?!”

GOOD BOOTHS GONE BAD #11: That Free Milk Thing

Today I’ll share some of the perils of selling and demonstrating in the same booth. The subtitle refers to that old adage, “Why pay for the cow when the milk is free?” My titles are getting convoluted, aren’t they?

Our state craft guild has a special kind of booth situation available to exhibitors at our annual craft fair. It is a combination sales and demonstration booth, and it’s HUGE–20’x30′. It’s unusual because usually demonstration booths (which have a greatly reduced booth fee or even pay the craftsperson to demo) are not allowed to actually sell product. In this booth option, we pay a greatly reduced fee, but we are allowed to demo and sell our work.

Traditionally, sales suffer greatly in this hybrid mode. Bruce Baker talks about this in his booth design CD. Once you start demonstrating, people expect to be entertained and educated–edutainment. It can be hard to turn that passive “amuse me” energy around back into active shopping. It can be done, but it’s hard.

Whenever Bruce says this, or when I mention it to other craftspeople, there are always some who protest that they are highly successful demonstrating and selling their work at the same time. But to me, it sounds like the people who claim they sell well enough without taking credit cards. Ask them again a month after they have a merchant service account. They grab your arm and gasp, “I had no idea…!!

In other words, you may be doing well enough, but you could be doing even better. (For those of you who are not selling your work, it’s like someone who buys their first microwave after never having had one before…. Sure, you can get along without one, but you just don’t know what you’re missing.)

To support this observation, traditionally our fair committee had to beg people to do the sales-demo tents. No one wanted to do it because sales were so poor in those tents (even though they are on the “main drag” of the fair.”

It got so bad, some people were allowed to do the same demonstration two years, three, even four years running–and more. (It’s supposed to one-to-two-year-max, temptingly large space at an unusually low price, to offset poor sales.) Often our pool of applicants was new exhibitors who simply couldn’t afford a full booth fee.

One or two applicants might be more established exhibitors who figured they could take a hit for one year, in order to boost their visibility and reputation for years to come. When I interviewed these past participants in the program, they always said they did not do well sales-wise, but it was worth it for the increased sales in later years.

The year I decided to do a sales-demo tent, I actually made an appointment for a consult with Bruce. He gave me some valuable insights in addition to those I’d absorbed from his CDs on selling and booth display.

My sales-demo booth provided record sales for me at that show two years in a row. In fact, I was doing so well that we now have a huge pool of applicants every year for those tents.

What other exhibitors saw those two years was a constant crowd of visitors–and buyers. They saw people actively shopping almost every time they went by the booth.

Unfortunately, though I made it look “easy”, a lot of work and thought went into that design process.

The biggest design problem was how to handle a space that was as big as SIX regular booths. I followed most of the guidelines in the other essays in this series. Here are a few issues specific to sales-demo booths.

DON’T LEAVE ME!!

Most people have the right idea of separating the sales process from the demonstrating process. But many exhibitors carry that to an extreme. The booth ends up looking like the brains of those unfortunate people who have continuous seizures, where the surgeons actually disconnect the two halves of the patient’s brain.

The exhibitor splits the booth right down the middle. On one side is the craftsperson, making his stuff. On the other side is a little store where you can buy the stuff he’s making.

Unfortunately, there isn’t any intuitive flow between the two. You have to leave one world and enter the other. The most extreme case I saw, the divide was so physically complete, you had to actually leave the booth on the demonstration side, and re-enter it on the little store side.

Please do not make people leave your booth and come back again in order to buy something from you. Can you see this in a regular store?

Customer: “Oh, look, I just love this! I’m going to get it! Do you take Visa?”

Sales clerk: “Why, yes, we do! Now, you just run across the street with this to the other store, and they’ll ring it up for you.”

I know it’s “only a few feet” in a tent, but it is halfway around the world psychologically.

How did I bridge the gap between these two worlds?

With traffic flow, signage and display.

TELL, TELL, TELL

As I talked during my demonstration, people listened. In fact, we soon found there were two kinds of people to be found in my tent: Those who came in only to watch and listen–and a totally different group who came in to listen as they shopped.

Oh, and I didn’t have to speak loudly, either, as some exhibitors do during a show. Research shows we are hard-wired genetically to hear the human voice–which is one of the reasons you can hear a single opera singer over an entire orchestra. (Isn’t that COOL??!) So please only raise your normal speaking voice a notch or two, even in this very large space, okay?

I had my demo area right up near the front of the booth. Bruce suggested this, so people didn’t have to commit to even coming far into the booth to see if what I was doing would interest them. They could hang out for a few seconds, then choose if I were engaging enough to stick around.

If they chose to stay, they had several options.

They could sit and watch and listen. But immediately off to one side, there were a series of display areas. These were filled with interesting supplies–piles of fabrics, strands of trade beads, baskets of buttons. A stash of beaver-chewed sticks and antlers. Books showing examples of cave art.

It was visually dense and appealing–like my work! Appealing, colorful, touchable, FUN.

I had signs. Everywhere! Signs explaining what everything was and how I used it in my art. It had the feel of a museum display, except people could actually touch the fabrics and play with the beads.

As people followed this “trail of interest” around the perimeter of the tent, they came to a few environmental settings of my art–a large wall hanging on a “wall”, with a beautiful table underneath, flanked by vases of flowers and my sculptures. “This is what I look like in your home” was the message.

Finally, the whole thing segued into a true shopping experience. The rest of the booth looked like a gallery, with islands of shelving filled with jewelry and sculpture, and more wall hangings on the walls. Lots of lights kept the space bright and easily viewed.

For those more eager to get to the shopping part, the center and front of the booth, right next to the demo area, was set up for sales, too.

People could also come into the booth at multiple points. But once inside, everything was different enough that they wanted to see the entire booth before they left.

BE THE ARTIST

This is one of the few opportunities for you, the artist, to totally immerse yourself in that role. Yes! Your dream, to simply sit and create, and let someone else sell for you!

Use it.

When I am in my regular booth, it’s simple to talk about the work, how I make it, why I make it, and sell it to people who connect with that. When I am demonstrating, the move to selling mode is a total “spiritual disconnect” with most people.

This phenomenon was so visibly profound, my sales team finally told me to stay in my chair when people were in the booth. The mere act of me rising from my demonstration station was enough to send people running from the booth. (Okay, I heard that in the back row!) My sales team even brought potential customers over to my demo table with questions, rather than call me over to them.

It was a subtle but powerful thing: Here is the artist at work. We will have an audience with the artist. We will approach with respect, catch her at a good point, and ask her about this wonderful piece she made.

I’m not saying I sat in my chair hoity-toity with an attitude. If you’ve ever been in my booth, you know me better than that! I’m just saying there was a palpable difference in artists between actually making art and actually selling art–and customers were sensitive to that difference.

In fact, I think when some artists say they hate the selling or business side of their art, they are having a hard time transitioning to that aspect. When we can embrace the creative aspect of selling–as the end result of making stuff–we can perhaps feel more comfortable with it.

Because selling is really just getting our precious work into the hands of people who love it but can’t make it themselves–and so they are willing to trade their time (in the form of money they’ve earned) for our time (the time we spent making it.) Pricing is just establishing the ratio whose time is worth what.

The change in energy from showing/sharing to selling was palpable, even if I knew I was just getting up to offer assistance or answer a question.

TRAINING DAY

So hire–and TRAIN–a sales force. I hired a team of five people to split shifts and work the entire fair for me. That sounds like a lot, but it’s a nine-day show. Every day, I had at least two other people working that booth with me.

First, I picked people who were….I was going to say “people people”, but that just sounds silly. People who were good with other people. This is not a job for terminally shy people! They don’t have to be extroverts, but they have to comfortable in their own skin so they don’t make your customers feel awkward. (You know the kind of person I mean.)

If they’ve had any sales or marketing experience, that helps. And if you ask around, you’ll be surprised how many people do.

Be careful about picking spouses or family members. Best case, they love you so much, they may hound people to buy your work. Not good. Worst case, they don’t really want to do it but can’t say no.

Be careful about picking friends who are also artists. They must be able to set their own art aside and sell yours! You’d be amazed how hard this can be for people. Don’t hold it against them–but if they can’t do it, don’t ask them to! This is YOUR time and YOUR real estate–not theirs. They must not lead conversations around to THEIR work or use precious selling time to market THEIR art. (Hint: If they wear THEIR jewelry or clothing while selling in your booth, big red warning light there.)

I invited them over for dinner before the show. I gave each person a packet of information about me and my work, prices, magazine articles, etc. The purpose was not for them to memorize everything, but to familiarize them with my work and story.

I gave them talking points and selling points. But in the end I told them, “Tell customers why YOU like my work. If what you say is true for you, they will sense that. And that will be more powerful than any prepared sales spiel I could give you.”

So they shared with each other what they loved about my work. BTW, I learned a lot from this, too! They told me great things about my work I’d never thought of.

Then I gave each of them Bruce Baker’s CD on selling craft. I suggested they simply listen to it as they did dishes or on a long drive. If they had time to listen a few times, that would be great. And I included this “listening time” in the number of hours I was paying them for. Though Bruce is so easy to listen to, some of them said they listened for fun.

My investment in this sales team resulted in doubling my sales at this show.

The first year I did this, I couldn’t afford to pay my team what they were worth in cash. So I offered minimum wage and a generous trade option. They could chose the money and $x in goods, or $3x in straight goods. Or if they found another artist’s work at the show they loved, I would offer to trade my work with that artist.

The first year, everyone chose the trading for my work, and one person took me up on trading with another artist. The second year, everyone simply wanted my work. That worked out well for me! But do give people the money option, because some people simply need the cash.

I also bought everyone’s food at the show, and had them over again for dinner after the show. This “wrap-up” dinner was great! Once again, they shared observations about my work, and customer dynamics, that were extremely helpful.

Once again, I hope some of my personal experiences help you rethink what’s not working for you now.

And as always, if what you’re doing is working for you, don’t change it–unless you think it could be better.