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!

GOOD BOOTHS GONE BAD #21: Give Me Space!

I had another chance to walk a craft fair recently. I was actively shopping at this one, or trying to. Once again, I was thwarted by my fellow craftspeople.

Here’s another tip from a crabby shopper:

Leave yourself room to conduct business.

Please… Give your customers room to write a check.

I watched a young woman with a very nice product make a sale to an eager customer. Her table was so full of product there was absolutely no room for the buyer to write a check. (And although the product was lovely, the display was not as appealing as it could have been.)

At one point, the craftsperson actually pointed to a towering display of boxes with product stacked on it and said, “Here, you can write there.” The customer tried to write a check above shoulder height, on the display. The tower wobbled slightly. I could hardly watch.

If your customer has to drop all her packages, including her purse, to write a check with her checkbook balanced on her thigh, then you have just made them jump through incredible hoops simply to buy something from you.

This phenomena isn’t just an issue of limited space. I’ve seen people with very large, complicated booths who still don’t leave twelve square inches of space for people to set down a purse and pull out their wallet.

At the very least, provide people with a clipboard to write a check or sign a credit card slip.

At best, leave a bit of space for you to wrap up that sale.

You may be thinking, “Hey, I made the sale. What do I care what happens after that?!”

Well, halfway through the show, they might think, “Hey… Those would make a great gift for Aunt Sue and Jolene! I should go back and grab a couple more….”

Do you want them to then think, “It would only take a few minutes, I already know what I want.”

Or for them to think, “Oh, geez, no, I can’t bear to go through THAT again!”

Make it easy for them to buy. And make it easy for them to come back and buy MORE.

GOOD BOOTHS GONE BAD #20: When to Break the Rules

I’m back from the Westport Creative Arts Festival. It was a beautifully run show, well-managed and supported by the Westport Young Women’s League. They did everything right! Unfortunately, attendance was down, down, down and although I didn’t crash and burn, I did not do well enough to return.

It did give me a chance to see all kinds of booth set-ups, though. I’m here to report that sometimes it’s good to break the rules of good booth design.

One of my favorite booths was Riverstone Jewelry.
It was one that broke several “rules”, to great effect.

The tables were low and deep. There was barely enough room for more than three or four people to browse at a time. There was a lot of work on display.

But it worked.

I’ve been thinking why, and here is my theory:

She created an atmosphere of a true “trunk show”. It felt like she had just returned from a buying trip, set up her well-worn traveling cases in an exotic but peaceful tent in a bazaar, and invited you in to see her new wares.

The backdrops were simple, neutral-colored (sort of beige) but layered–some sort of matchstick blinds over similar-colored material (linen??), very “Thai” or “Bali” looking.

The cases seemed to be old wood cases or boxes, with the jewelry lined up attractively. The items that were laid out in great numbers still worked, too. Bracelets were aligned in rows, but each one was different. Your eye could quickly take in the one or two that jumped out at you, according to your taste. I don’t think they were displayed on black, either, although I now can’t recall the color. More neutral, I think.

And the reason I say “looked” and “seemed” is, all I could really focus on was the jewelry. Everything else was warm and attractive and blended into the theme, then fell away so you only saw the jewelry.

I overheard a little of her sales approach. She told a woman how, in the villages where she buys the components, a shaman consults with you when you are ailing.

Once the source of your ills is determined, special healing amulets are prescribed. You go to a amulet “pharmacy” and purchase the right amulets. The amulets are then made into jewelry for you to wear.

The entire effect was that you were participating in such a healing process. And, as we all feel the need for such care from time to time, it was a compelling notion. People were scouring for just the right piece for healing.

People felt justified in buying more jewelry–“It’s therapeutic!”

And because the experience also felt “exotic” and “traveling to faraway places” and “marketplace”, people seemed to tolerate the crowding better. It was part of the total adventure.

Perfect booth!

So why doesn’t this table set-up work for every booth?

Because here it recreated a specific atmosphere–exotic locale/shaman healing/ancient wisdom/community.

When misused, the recreated atmosphere is “yard sale.”

I also recant (a little) on the booth lighting thing. Sometimes the worst way to light a booth is what works best under the circumstances.

It is really hard to light a booth on 400 watts of electricity! I don’t know how you do it if the fair doesn’t provide any electricity. (There are batteries available for outdoor shows, but most indoor shows don’t allow them.)

My booth was way too dark. Of course, part of my problem is trying to display three different lines that demand three different display modes–2-D (walls), sculptures (shelves/table top) and jewelry (cases).

Under these circumstances, the best-lit booths were indeed the ones that had a rack of track lighting across the top front bar of the booth. Yes, when I turned around, I was blinded by the lights. But if I didn’t have jewelry, too, I would seriously consider doing that just to get enough light into my booth quickly and easily.

The one exception was a guy across from me who had the more-successful light set-up–track lighting on all three sides of his booth, with the track set up about a foot or two away from each wall (my recommended solution.)

But when I counted the lights, I saw he also had at least 9 lamps, and another bar of 4 lamps. Either he was using lower watt lamps or he simply ignored the 400 watt limit. I did find some on-line sources for low watt MR16 halogen bulbs so I’ll give him the benefit of the doubt. And I will consider these bulbs the next time I have limited electricity.

So remember, there are many good rules to making a great booth. But some rules are made to be broken.

The trick is to know when and how to break them and why.

p.s. Low voltage does not equal low wattage. Low voltage lamps are not the same as low wattage bulbs.

Some craftspeople (and I used to be one of them) think if we are using low-voltage lighting, we can use twice the number of lamps/bulbs in our booth. “I can buy 400 watts, and have 800 watts’ worth of low-voltage lamps in my booth!” we exclaim happily.

NOT.

A common mistake we make is thinking low-voltage lamps use less energy. They do–but not in how much power you’re drawing. The BULBS use less energy, and last longer–and is safer to work with. That’s why low-voltage light systems are increasingly being used in outdoor residential lighting.

Think of electricity as a stream of water, like a hose, coming in your booth. If the nozzle has a wide-spread setting, the stream/current is wide, the power is diffused. If the setting is narrow, the water comes out harder and more powerfully.

But the amount of water coming through is the same.

To figure out how much wattage you’re using at a show, you still have to add the total wattage of your light bulbs. If you have bought 400 watts of power,the total wattage of your bulbs should not exceed 400.

My electrician tried to explain about dividing the total number of watts into the total number of volts in the system for figuring out the actual “draw” on the system, but he lost me several times along the way. When I repeated the above to him, he said, “Yeah, just stick with that.”

WESTPORT CREATIVE ARTS FESTIVAL

Today is the day! Robin and I leave for Westport, Connecticut to do the Westport Creative Arts Festival.

I’ve been squishing my booth down to something that will fit in my car–a 2003 Subaru Forester, so that is no mean feat.

Everything is stacked up in my studio. It looks fairly compact–only four small Rubbermaid containers, my Dynamic Display cases, an armful of wall hangings and oh, yeah, my soft puzzle mat floor from Alessco. I really like these mats because there are no strips to put on the outside to get a smooth border. They have sections with built-in smooth sides and corners.

My friend Carrie Cahill-Mulligan, who recommended this show to me, does a better job of talking about the Festival than I could today. So meet Carrie, see her exquisitely beautiful hats (I own one!), and learn more about the Festival here.

I’m glad I read her blog about it, because I didn’t know there was a special breakfast preview on Saturday morning. Who’s bringing the donuts??

I woke up this morning and my first thought was, “I wonder what I’m forgetting?” I always forget something. Sometimes it’s something critical, sometimes it’s just annoying. The great thing is, I’ll always find out. Because at some point during set-up, we will say, “Where is the x widget??” and I will slap my forehead and exclaim, “I forgot to pack it!”

I just checked my list again. Oh, yeah, the step stool!

My very first article for the now-defunct CraftsBusiness magazine told how I prepared and packed compulsively for the Boston Gift Show as part of a group booth with the League of NH Craftsmen.

I not only packed back-ups to everything, I packed back-ups for my back-up. I got to the show, set up my section of the booth with no mishap, and congratulated myself on a job well done.

Then my husband called to tell me I’d left my suitcase in the living room.

It’s always somethin’….

P.S. Actually, I’m almost at the point where I’m looking forward to the show. I hope if you are near Westport, CT this weekend, you will mosey on over to Staples High School and drop by Booth 163. We’ll be there! I have even more new jewelry and I still have a selection of small wall hangings left.

P.P.S. Go ahead. Ask us what we forgot.

GOOD BOOTHS GONE BAD#19 Chosing Fewer Choices

Let’s go back over the issue of having too much stuff in our booths. I have two anecdotes that I hope will encourage you to pare down your offerings.

A few years ago, I browsed another jewelry artist’s case. Barbara Sperling does polymer clay canework, which means once she makes a cane design, she can take dozens and dozens of slices from it to make jewelry. (Barbara also happens to be one of the nicest and most professional craftspeople in the industry, so if you see her at a craft fair, BUY HER STUFF!)

I tend to be one of those people who looks for the “perfect one” whenever I have a pile of things to look at. I love to paw through baskets of earrings and piles of bracelets looking for “just the right one.” Oddly, usually I can’t find the one I’m looking for. (More on that below.)

Barbara was a step ahead of a shopper like me.

She had limited the choices in her display severely.

Instead of displaying every single piece she’d made, she’d set up a square panel of black velvet, perhaps 2-4 to a case, with only one or two samples of each design for each jewelry item. For example, in her Great Blue Heron design (my favorite!) she had ONE fancy pendant necklace, ONE simple pendant necklace, TWO pairs of earrings (one large, one small) and a pin.

It was not “sparse”. There was still plenty of jewelry to look at.

But it was focused.

My attention was caught. I zoomed in on the earrings, and I quickly selected a pair.

As I did, two thoughts went through my brain.

1) “Wow! She only has two pairs of heron earrings left. I better snag a pair before she sells them to someone else!!”

2) “I like THIS pair best!”

After I’d paid for my purchase and was on my way back to my booth, I remembered something, and turned back…

Just in time to see Barbara quickly replacing the earrings I’d just bought with another pair!

She had tons of those heron earrings, all subtly different. She had them stashed away behind the counter, ready to quickly replenish any stock as it sold.

She could have put out dozens of heron earrings, and saved herself the trouble.

But choosing from dozens would have been overwhelmed me. Flooded me. Left me unable to choose.

In fact, for some people, this feeling is so uncomfortable they will not stay in a booth that has too much stuff–especially if it’s a lot of similar stuff.

So our first corollary is:

Choosing from many is hard. Choosing “the best of two or three” is easy.

My second anecdote is simply an observation I’ve made from watching people browse my booth. I especially noticed this when I did a 600 square foot sales/demo booth at the League of NH Craftsmen’s Fair three years ago. I had over 30 feet of “aisle footage”, and that’s a long time for people to be walking by your booth.

I had several jewelry and sculpture displays along the walkway, and several places people could enter the booth. (ALWAYS leave plenty of space for people to come in and mill around.) As people strolled by, something would catches their eye.

Intrigued, they’d step up for a closer look. Then they’d come in and start browsing in earnest. Finally, they’d decide they were seriously looking for “their piece.”

Now, some knew what that was. But others had a harder time.

When the people having a harder time were ready for help–when they indicated they LOVED the work, wanted to purchase something, but they couldn’t make up their mind–I’d ask them a very simple question:

“What was the first piece you touched when you came in my booth?”

People, I swear to you….99 times out of 100, that is the piece they end up buying.

One woman protested, “But I literally just put out my hand and touched it. I didn’t really even look at it!”

But in the end, it was still the necklace she chose to buy, after insisting at looking at dozens and dozens of similar pieces.  (I know, because I pulled each and every one of those pieces.)

Here’s my theory:

Our heart knows which item speaks to us.

Sometimes it’s even the first piece that catches our eye. (Our brains are actually super-processors of date. We’re hard-wired to notice the cheetah’s outline amidst the leaves in the forest jungle. We really can pick out that lovely turquoise-accented necklace from a myriad of pale blue ones….)

Our heart gives a little leap and says, “That’s the one!” Our hand goes out to the item, and we touch it (or wish we could, if it’s under glass or signs say “please don’t touch.”)

Then our busy brains kick in. “Wait, there might be something better!” it cajoles. “Let’s go look at everything so we’re sure we’re getting the nicest one!”

Or we agonize about whether it will go with our clothes. Or if it’s too fancy to wear for every day. Or if it’s too different than the kind of thing we usually buy.

We are afraid of making the wrong choice. And so we choose nothing.

That’s when your customer says those dreaded words: “I’ll be back.”

You’ve lost them. Only one in a hundred people will work their way back to you. There’s just too much going on at a good show, too many other wonderful distractions.

Our jobs as sellers is to encourage people to trust their heart. To trust the choice that comes from their unconscious yearnings.

Because that is the choice that will stay with them, and give them the most joy in the years ahead.

I now do this myself when I shop. Sometimes I’m wrong, but not as often as you might think. And it frees me up to do more shopping in more booths, too!

So try acting on this corollary:

You touch it, it owns YOU!

Be gentle, be subtle, and don’t force it.

See if it doesn’t help those indecisive customers get to their happy place faster.

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 booth behavior 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.

DO JUST ONE THING DIFFERENT AT A TIME

Awhile back I read Bill O’Hanlon’s book Do One Thing Different. I tried the technique a few times and wrote about it here.

It’s a nice technique, and an easy way to shake up your world in a tiny way that can get you surprisingly big results.

But sometimes I do too much of a good thing.

Now, lately my friends and associates have heard me frantically planning for my upcoming retail craft show in Westport Connecticut, the prestigious Westport Creative Arts Festival.

It’s going to be the first time I do an out-of-state retail craft show I have to drive to; the first time I can take only one carload’s worth of my work and booth; and (the scariest thing) the first time I have only a few hours of set-up time.

It’s that last one that’s the worst. Every single show I’ve done for the past 8 years, I’ve had a full two days of set-up.

This time I will have three hours.

It’s really thrown me for a loop. Man, to hear me fuss and whine about it, you’d think I was dealing with some life-or-death situation.

It’s not, of course, and I know that. But my brain does not seem to know that.

I wake up at 3 a.m., thinking, “I can’t get all my Propanels in the car! What will I do for walls?!” The next night I wake up at 4 a.m., thinking, “How will I get set up in only THREE HOURS?!” The third night, I wake up at 5 a.m. and can’t get back to sleep. I worry about how to improve the layout of my booth, and how to update my jewelry display.

The next night I can’t sleep at all, worrying that no one will buy my work.

I agonize about how to simplify my set-up. I run new booth configurations through my head. I make mental lists of new things I could try display-wise. I worry about getting lost in Connecticut. (It looks so much bigger than New Hampshire on the map….) I worry about falling asleep while driving down (I do that a lot.)

What fun!

Anyway, for some reason, the mental clouds parted and the sun broke through yesterday. I had a brainstorm. An inspiration.

It’s just another show.

Another huge revelation: I’m trying to change too many things at once.

I only have to do ONE thing different: Simplify the booth.

This is not the time for working out a new booth configuration. This is not the time for working out new displays (except the simplest kind.)

As difficult as it seems at 3 a.m., I’m sure I can find Connecticut. Just head south! Mapquest will help me find Westport. Other people have found it. I can, too.

My daughter is going with me. Although she is still an exciting and entertaining driver to ride with (she’s only had her license about six months), she does not get drowsy while driving. As long as I can stay awake long enough to navigate for her, she will do fine.

So if you find yourself in a frenzy about something in your art or your biz this season, learn from my mistake.

Don’t reinvent the wheel. Don’t reinvent your booth, your business, your life in one fell swoop.

Work on ONE THING.

And put a good map in the car.