Posts Tagged ‘Customer’

The Customer’s Dual Roles

Wednesday, July 7th, 2010

SunMoon1It’s easy enough to see that in a selling scene, a Customer is your Audience.  You, in your role as Seller (and make no mistake about it, everyone in this world sells something) need the customer/audience to support you at the boxoffice, the gift shop, the showroom, the supermarket, the website, or anywhere else you can translate their ‘applause’ into revenue.  This has been true since studly village smithies were putting on a good show by hammering out horseshoes under the spreading chestnut tree.  A good performance gets rewarded by the audience. Selling doesn’t get any simpler than this.

It does, however, get a lot more complex, and in a hurry.  Here’s why:

In selling scenes, the customer plays two roles:  Audience and Scene Partner.  You, as a seller, co-create your selling scene with your customer as your scene partner.   He or she will then, stepping into the role of your audience, pass judgment on your performance.  Thumbs up or thumbs down?  Worth the price of admission or not?  Good collaboration or rocky relationship?  Will you generate positive word of mouth or negative reviews?  Your earnings depend on how your performance is received.

There’s no script for these scenes–at least not one your customer is going to be memorizing and reciting verbatim anytime soon.  You’re going to be improvising.  And this is a fact:  The best salespeople are the best improvisers.

Here are some ways in which good salespeople collaborate with customers on scenes that get a thumbs-up from those same customers:

They keep their scenes lively. They keep the dialogue moving along at a productive tempo.  They yes-and promptly.  They heighten by upping the tempo, the emotional pitch, or both.  They add useful information.  They perform with the awareness that a ‘dead spot’ in the scene now will be judged harshly by the customer-as-audience later.

They make their customer the hero of the scene. An improvisational salesperson is a Sherpa to the customer with some kind of allegorical mountain to climb.  The sales Sherpa has useful knowledge.  Charts a practical course to the summit.   Reads the weather.  Calculates the odds.  Comes well-equipped.  The sales Sherpa gives the gift of support, and in doing so, makes the customer look good.  The role of the sales Sherpa is not the same as playing a second-banana, a sidekick, a best friend, a wing man, a femme fatale or a fall guy.  These are Hollywood movie roles.   The sales Sherpa is exactly what the name defines: a Sherpa.  It’s a Himalayan thing.

They listen. Wow, do improvisers listen.  They hear things the casual listener doesn’t.  They remember the nuances, and use the throw-aways.  They know that the most important conversation of the day may happen on an elevator ride between the first and sixth floors before a sales presentation begins.  They listen with more than their ears.  They observe with all the senses.   And then, maybe then…they speak.   They understand that being silent and being mute are two completely different things, and that sometimes one sees more with one’s eyes closed than with them open.

They respect environment. In selling scenes, you, the seller, are usually a visiting performer in someone else’s theater.  In many ways, the ‘theater’ of a customer’s company is like any other theater.  Theaters have traditions and history that must be respected.  They are influenced by politics and patronage and star players with competing agendas.  They are invariably facing some kind of financial threat.  They are only as good as their last hit, and they have ridiculously high hopes for the next project.  They can be half-looney with romantic intrigue.  The improvisational salesperson sees and respects the arena in which the customer operates.  When performing at the Apollo, touch the Tree of Hope.  When visiting Ireland, kiss the Blarney Stone.

They build relationships. Relationships are the basis of all improvisation.  The relationships between players, between players and environment, and between players and audience, are all intertwined.  The best way to move toward a sale, to generate positive outcomes regardless of the circumstances, is to build and nurture these relationships.   Relationships will see you through the kinds of adversity, and capitalize on the opportunities, that no scripted sales program can predict or anticipate.

In selling scenes, the networked customer is a more potent player than ever.  He or she often knows as much about your product as you do.  Relationships with customers are frequently more sensitive, more fluid and more demanding than they were in the Industrial Age.  Customers use social media to converse frequently amongst themselves in scenes to which you, the seller, are not invited.  You can no longer impose your narrative on the customer, you’ve got to earn an invitation to participate in the customer’s narrative.

So be a Sherpa.  Know the mountain, and your customer will see that the climb is impossible without you.

Chocolate + Love = Campaign

Wednesday, April 21st, 2010

Rasul Sha’ir, and his brand strategy group, Cnvrgnc, are rolling it up  bigtime in D.C. with a number of projects in the works that deal in narrative as the key to community.  Sha’ir and his partner in Cnvrgnc, Jamal Williams, begin their process by looking at the stories a community tells itself, and how those stories can be improved and shared.  Whether it’s an online group connected by a common interest, users of a social media platform, a city in the physical world, or some hybrid of the three, communities are held together by the stories they share.

ChocolateRose1In a couple of recent blog posts, one about a campaign in Greece for a Kraft Foods-owned chocolate brand called Lacta, the other observations about storytelling made by creative exec Lee Clow and Alex Bogusky of Crispin Porter + Bogusky, Rasul, looks at the role customers (a.k.a. ‘citizens of the community’) play in creating narratives.  Rasul makes this important observation:  brands are in the  business of producing their narratives in collaboration with their customers.  The campaign for Lacta, “Love in Action,” enabled by OgilvyOne Worldwide, was based on this observation.  The theme of love connects chocolate and the people who share it.  By giving customers the ’stage’ on which to profess their love–for chocolate and one anoher–the campaign transcended anything Ogilvy or Lacta could have possible produced on their own, in-house.  By sharing the narrative with their customers, Lacta generated positive unforeseen outcomes for its brand.

Give customers the tools and the rules and they will build it.  And if they build it, you don’t have to get them to go anywhere, because they’ll already be home.

The Consumer is Dead, Long Live the Customer

Friday, April 2nd, 2010

This is an important distinction for brands to make:

No more Consumers.

Customers.

Every time you refer to your ‘paying audience’ as Consumers, subtract one point from your brand’s Adaptability Index (AI). Every time you refer to them as Customers, add one point.

Here’s why:

Consuming stuff is so last century. The piggery and gluttony that came with relating material goods and conspicuous services to one’s status is totally unsustainable. It is a zero sum game.

Customizing stuff (and oneself), on the other hand, the honoring of customs and customers, is the engine that drives the sustainable economy. It is a generative process designed to conserve and make more efficient use of increasingly scarce resources.

Consumers consume. Customers customize. That’s it in a nutshell.

Here are some of the implications:

Nathans1Brands who emphasize consumption contribute to obesity, both mental and physical. They represent an ever-larger drain on the planet’s resources. They introduce a lot of useless crap onto the world by manufacturing illusory needs. They associate levels of consumption with status. The biggest of this. The most of that. The hardest. The shiniest.  The latest and greatest. These brands pay for the audience’s attention. Most significantly, they define the relationship between the brand and the audience using numbers.

I, Consumer, am a number of numbers. This is my number of average waking hours per day. A percentage of those waking hours belongs to you, a brand. During the percentage that belongs to you, I consume a percentage of the yearly sales of your product in my demographic. You spend a number to hold my attention. If that number stays below a certain acquisition price relative to the yearly value of the percentage of my day that I devote to you, you will keep spending it. If it gets too high, you will let my attention drift elsewhere. A computer program will tell you what to and then cover your tracks so that you’ll be blameless.  No one will be able to lay a hot dog on you.

Brands who customize largely participate in customs that already exist, customs into which they’ve been invited by a customer.  (The attempt to manufacture a custom is costly, with very low ROI.)  The relationship between a brand and a customer is a conversation, a dialogue. These brands serve causes that cannot be defined by numbers (even as numerical values for what they contribute and receive as a result of their participation, can and must be assigned and evaluated continuously). Brands with customers understand that consumption of the brand’s product or service represents part of, but not the entirety of, their value to the customer.  Consumption is one an element of a narrative that has many elements, most of which are outside the brand’s control. These brands prefer earning attention from their audience to paying for it.

Wurstkuche2I, Customer, am an individual. One of a kind. All my friends are one of a kind. I got my thing, you know, just like you got yours, just like everybody’s got their own. I am basically awake 24 hours a day, because I got plates in the air, you know. My homies in Bulgaria are coding some tracks we’re going to run off a honeypot server for which we are getting paid by a new label in Atlanta call Tso-Tso that does B-Boy tracks for mall shows and competitions all over the Southern U.S., Australia and the Philippines. Shit is off the hook. We get a dollar per download, and already this month we’ve made five thousand dollars. First thing in the morning, I am catching a plane to Fort Meyers to work with some friends down there who have a band and play clubs at night, and weatherize houses during the day for twenty bucks an hour. I’m producing their next album and they are paying me by getting me a job weatherizing houses for the summer. And on the weekends we take out one guy’s girlfriend’s family’s boat and party like animals. Any brand that’s down for this scene is welcome to roll with me.

In a sustainable economy, how we roll is going to be much more important than how much we roll.  It used to be about the size your boat.  Now it’s about boating like only you (and your crazy friends) know how.

Wurstkuche1