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  • Giving a Great "Walk Around" Sales Presentation

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    Salespeople should know that a walk around isn’t just a presentation, it is a chance to discover the customer’s needs and turn your product or services features into a benefit for that customer.

    Learning good selling techniques takes practice and learning how to give a “walk around” sales presentation is essential to the sales process.

    An excellent walk around presentation is not a canned presentation. It has been said, “A good walk around presentation doesn’t work because it’s canned; it got canned because it works.” That’s what a walk around should be – not canned, but planned. Salespeople need to know where they are going all the time. Hopefully they can help guide the customer down the Road to the Sale.

    Before we can attempt a presentation we must understand what a “feature” is and what a “benefit” is. A feature is what something is – a benefit is what something does. Let’s use automobile sales as an example. So let’s look at some car sales techniques. A “walk around” occurs when a salesperson pulls a vehicle out of the line of cars in front of the dealership. The salesperson opens the doors, the trunk, and the hood. They turn on the car and get the A/C running in the summertime (or the heater in the winter time). They take the customer and tell them about the vehicle as they walk around it.

    The aerodynamic styling of a vehicle is a feature; great gas mileage and a quiet ride are the resulting benefits. A lot of salespeople are good at reciting features, but not at explaining why the customer needs them – and this is for two reasons. One is they don’t know enough about the car and the other is they did a poor job qualifying the customer’s needs. Ask questions of your customer. Ask what they want from their next vehicle and listen to what is said.

    How can a salesperson enthusiastically talk about the double steel cargo box if they don’t know what the customer is going to use the vehicle for? They can’t.

    In a typical selling situation a salesperson might say something like, “Yes sir, this car has everything you’re looking for: a fuel efficient engine and a hands-free Bluetooth communications system. It also has ABS brakes, limited slip rear axle, and terrain management.” Sounds all well and good, right? Wrong. There is nothing your salesperson has told this customer that 1,500 other salespeople and brochures and Internet research haven’t already told him.

    So the customer looks at the salesperson like a deer in the headlights. He doesn’t know what he is what he is supposed to say, except what he is probably thinking, “I can see all of these options, Mr. Salesperson. Tell me something I don’t know.” You see, when the salesperson recites his or her cornucopia of knowledge, it isn’t a question so it doesn’t really move the sale forward. He is just repeating what the customer told him he wanted.

    The customer’s only response is, “Yes, Mr. Salesperson, I can see it has everything I asked for. How much is it?” Or worse yet, the customer may say nothing. The worst thing that can enter a walk around presentation is silence. When there is silence, there is pressure and in the selling process, we want no pressure. As I mentioned many times, the only common ground a customer has is the price. When you stop talking, the only thing they can say is how much… or goodbye.

    To do an excellent walk around, salespeople need to remember the thing the customer wants to know more than anything, “What will it do for me?” Until you tell customer that answer, then he is probably isn’t listening.

    Back to the walk around – how long did it take me to recite the options above, 30 seconds? What do I do now? I am out of things to say. Obviously there are lots of options and I could probably go on for a while, but even if I could memorize them all on every model, the customer will be yawning. Why? Because he wants to know what it will do for him. If salespeople are just going to recite options, they would be better off to hand the customer a brochure and send him on his way. The brochure is better than a salesperson will ever be at features. They break down the passenger compartment to cubic inches for heaven’s sake! When it comes right down to it, does the customer even care that there is 28 inches of legroom? No. But he will be interested to know that, “Because of the transverse mounted engine, Mr. Customer, when you and your family take that trip to Colorado this summer you can really stretch out your legs!” That is how you sell legroom. Note: Without asking good questions, how could you make the above statement? But here’s the good news: you can make that statement even more powerful in two ways – by moving the sale forward and by asking for the order.

    There are many ways to move the sale forward, but here are a few. These are simple phrases that keep the customer following you:

    “Let me show you this feature on your new Ford Explorer.”

    “Let me show you this,”

    “Let me show you one more thing,”

    “Great, follow me.”

    Ask for the order, it is quite simple, for example:

    “That’s a feature I’m sure you’d like, isn’t it?” The customer says, “Yeah!” The salesperson says, “Great, follow me,” or “Great, now let me show you one more thing.”

    The above question is one which you should already know the answer. Use it with a feature the customer wants, for example, seat belts, air bags, crumple zones, etc. A customer just won’t say no to seat belts.

    During the sale you are always closing — in sales terminology that means you are always asking the customer for the order. For example, a very successful salesman in a 20-minute presentation will ask the customer in several different ways, in more than a dozen times if they want to buy the vehicle.

    Some of the best closing techniques to use during a sale are called tie downs. Some call them trial closes. A tie down is simply a question at the end of a statement that demands a response. Instead of saying, “Those airbags are a wonderful feature.” In the eyes of a customer, this is just an opinion. But, if I added, “Aren’t they?” to the end of that statement, it forces the customer to respond, hopefully in a positive way.

    Or, “On a scale of 1 to 10, with 10 being the highest rating, how would you rate this vehicle so far? What would it take to make that number a 10?”

    However, sometimes a customer may say something that implies that they don’t like the vehicle. For example, “Oh, that looks like something else that will break.”

    One way to handle these “objections” is to address the issue with the “Feel, Felt, Found” response. For example, you might respond by saying, “I can see why you might feel that. A lot of people have felt the same way, but once you’ve found out the engineering behind, you’ll see how beneficial this can be for you.”

    These few tips will build the foundation for a confident walk around presentation.

    – Learn your product inside and out, research what’s being said about your product on the internet.

    – Get to know your customer’s needs in the initial greeting and qualification.

    – Present with confidence and tie the features back to their needs.

    – Help make their needs become their wants.

    – Remember to refer to competitive brands and create value.

    – Take full advantage of your product expertise when doing a walk around presentation and SELL yourself and your product.

    And remember, selling is a process of listening to customer needs, finding solutions to their needs, building value you in your product or service, and giving them an opportunity to buy that product or service that serves their needs!

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    Source by Vincent Hennigan

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  • Charity Auctions – Using a Cash Call

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    Auctions are an excellent way to raise needed funds for worthy causes. They are also a valued social event for the people who enjoy attending them, whether they are directly involved with the cause or charity, or simply people from the community who like going to and participating in these events. Whatever the reason, you can bring a much more successful outcome to your live or silent auction through the use of a Cash Call, also called the Special Appeal, Fund-A-Need, Emotional Appeal, Bid for a Cause, or Bid for a Cure.

    The Cash Call is part of the evening’s agenda, which is separate from the live or silent auction, but which is aiming to raise money for the same cause. It is a very common event that attendees will often expect. The way it works is that someone from the organization that is doing the fund raising will make an impassioned appeal to the audience members for direct donations. When done correctly, a Cash Call can in fact, bring in as much or more money than your live or silent auction.

    Most professional auctioneers will be very familiar with the Cash Call, so they are an excellent resource to use to keep the energy levels up, and to keep referring back to this special appeal. While doing this, they can solicit further engagement from the audience members who may be actively bidding on items. Should an audience member not win an item, they may choose to donate the money they would’ve spent on it directly instead. Professional auctioneers are extremely adept at engaging the audience and keeping events moving along smoothly, and injecting fun, humor, and structure into your auction.

    So the next time you’re raising money for a worthy cause, be sure to include a Cash Call in addition to your live and silent auction events, and watch the tally grow.

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    Source by Kevin Rutter

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  • Book Summary: Unlimited Wealth – Theory and Practice of Economic Alchemy by Paul Zane Pilzer

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    The basics of economics are supply, demand and scarcity. Economics best describes how to divide these scarce resources up amongst a growing population. Paul Pilzer takes a very different approach to Economics. He believes in Unlimited Wealth and shows examples of why technology and human ingenuity are the keys that unlock that wealth.

    Why is this important to me?

    I am not doing this summary to waste your time. It is my vision to provide concise action steps that you can adopt right now to enhance your financial life. Paul Pilzer writes of unlimited wealth creation. His spin is Alchemy is the creation of wealth while Economics is simply the method for moving it around.

    I am really intrigued by the concept of unlimited wealth creation. If you look at human progress in free societies, the real difference has been in creation. Commodities and resources are in fact finite but the way we use them is what is unlimited. The ideas are unlimited. An acre of land today produces far more food than an acre a generation ago.

    Unlimited Wealth discusses several major topics. For the sake of time, I will review the salient points outlined by Paul.

    1. Supply Side Alchemy – The Wealth Equation: W=PT^n – This equation means – W (Wealth) = P (Physical Resources) x T (Technology) to the nth power where n is the effects of the technological advances. The expansion of physical resources depends on the technological advances. Supply side Alchemy consists of three laws. The key to this equation is what Paul calls the third law of Alchemy – The rate at which a society’s technology advances is determined by the relative level of its ability to process information. Let’s look at how society has progressed based on the third law of Alchemy. Humans figured out how to write, then the printing press was created, then the computer was created and purchasable by the average consumer. Now we have the internet, social media, search engines and everything else to share knowledge. The speed of information exchange is exponential hence so is our level of wealth.

    2. Demand Side Alchemy – The demand side alchemy consists of the fourth and fifth laws. The fourth law states – By providing us with new products and processes that change the way in which we live, technology determines what constitutes a need, and hence the nature of consumer demand. In a nutshell, demand can be created by creating and innovating new products. Apple is on its way to be the first company to hit a Trillion dollar valuation. All of their products were created first and then the demand came from it.

    3. Sixth Law of Alchemy – The immediate economic potential for an individual, an industry or society can be explained by examining the technology gap, the best practices possible with current knowledge, and the practices in actual use. This is important today because China and India are way ahead of the U.S. in terms of science and math. Technology strives on science and math and societies that adapt it faster will create wealth faster. This is where the balance of power can shift over time.

    Unlimited Wealth is definitely a controversial study based on regular Economics theory. Since I am in the technology field, I agree with Paul that Unlimited Wealth can be created through technology and innovation. Products are being created right now that no market exists. Some of these products will fall flat while others will explode. Take a look at Facebook. This company came from nowhere and is now valued at over $50 billion.

    I hope you have found this short summary useful. The key to any new idea is to work it into your daily routine until it becomes habit. Habits form in as little as 21 days. One thing you can take away from this book is scarcity is a negative mind set. I say this because if you believe in unlimited wealth creation then ideas will flourish.

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    Source by Joe Mosed

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  • Emotional Upsets As We Age – Adult Health and Wellness

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    As we age, it is more likely that we will eventually experience emotional upsets, loss and change. Many of us go from busy, full time workers or full time parents to partial workers, empty nesters and grandparents, to full time retirees, with or without a life partner, adequate financial resources, secure housing, or a network of close family and friends. We may move from a familiar neighborhood to a different retirement community. Friends, neighbors, close relatives and even our beloved house pets may become ill and pass away. Depending upon whether we have developed the positive mental attitudes, uplifting and life affirming spiritual connections, healthy lifestyle, social contacts, and continued passion for living – which researchers describe as the formula for healthy aging – we are more likely to suffer more from illness, disability and emotional instability as we age.

    Complications of Emotional Upsets and Stress

    Stress Accelerates Cellular Aging

    Research is beginning to substantiate the devastating effects of long term stress on health and aging. Telomeres, the DNA-protein structures that cap the ends of chromosomes and promote genetic stability, appear to play important roles in cellular aging and disease. Elisa Epel and colleagues examined the effects of psychological stress on telomere maintenance in 58 healthy premenopausal women. Results, appearing in the December 1, 2004 Proceedings of the National Academy of Sciences, indicate that the psychologically stressed women had shorter telomeres and less telomerase, a telomere producing enzyme which affects immune function cells in the blood.

    Stressful Jobs Affect Health of the Elderly.

    In workers over age 60, problems on the job raise blood pressure in although these older workers often claim to be less upset and less sad than younger employees when work problems hit. They seem to “feel” less emotion, but their bodies reveal greater stress factors. Older workers may be more vulnerable to heart and cardiovascular problems if they remain in high-pressure jobs or situations.

    Emotional Stress May Precipitate Heart Problems

    Emotional stress can precipitate severe left ventricular heart valve dysfunction in patients who do not apparently have coronary disease. This reversible condition, called myocardial stunning, cardiac stunning or myocardial stress, is brought on by severe emotional stress. Research corroborates the phenomenon that severe emotional stress and heartbreak, such as the break up, loss, or death of a a loved one, can release an onslaught of stress hormones that cause the heart muscle to contract and spasm, possibly leading to severe complications and even loss of life.

    Emotions Affect Blood Cells

    Photos of frozen water crystals imbued with different emotions appeared in the book, The Hidden Messages in Water by Japanese researcher Masaru Emoto. Inspired by these photos, Rebecca Marina attempted to replicate the experiment by having her own blood samples photographed on slides while she caused herself to feel specific emotions.

    She focused first on sadness. In this photograph, her blood cells seemed to actually take on the formation of teardrops and were seen moving rapidly (rather than slowly and sluggishly as we might expect) with a lot of white blood cells predominant, more so than in a normal blood sample.

    When she felt fear, the blood cells moved around rapidly and frantically with an increased number of white blood cells and then stopped moving rather abruptly, as if exhausted.

    Feelings of love produced slower, more placid movement and some sparkly substance in the fluid. Interestingly, when she felt love, the blood cells on the “sadness” slide that had remained on the screen began to change. In other words, even when her blood was no longer inside her body, her feelings of love actually affected the movement, shape and quality of her blood cells on the slide.

    But the most astounding effect was when she focused on Divine Mother or spiritual love and peace. The fluid part of the blood became clear, the movement of the cells was placid, and the cells were just gliding along. The white blood cells that showed had a white glowing center and a pulsation in that center almost like a heartbeat! And some of the cells actually took on a heart shape. (EFT – Emotional Freedom Technique Research)

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    Source by Erica Goodstone, Ph.D.

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  • Implementing the Character’s Emotion

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    Now that you’ve made your choices, how do you generate these emotions and make them readable to the audience? And in doing so, does the actor actually feel the emotions or simulate them? These are the questions often asked about portraying the emotion.

    It stands to reason if you want to affect the audience and move them, you, playing a credible character, must feel these emotions. But you must feel them in such a way that they are conveyed to the audience. The degree to which you feel each emotion will depend upon the method used to carry out this feat and your ability to master it.

    Actors involved in what is termed “Method Acting” use the affective memory to generate emotions. Here the actor recalls a specific event in his own life that has produced the required feeling. For example, remembering a fight you had with another student in high school could arouse the emotion of anger. Recalling the death of a close relative might generate the emotion of grief. The actor has to go back, replay the experience leading to the desired emotion, and relive those moments in his mind. Through this method, the required emotion is revived.

    There are some benefits and also some dangers in this type of emotional generation. Usually, emotions derived this way seem real and deeply moving, more so to the actor than the audience. That’s because there is a tendency to internalize these emotions so much that they are not fully evident to the viewer. The method does make producing emotions seemingly easy, but at a price.

    You will find that emotions take time to evolve naturally and resist abrupt changes when deeply seated in ones memories. This is one reason few method actors make it big in comedy. The changes come too quickly and the method actor usually lacks the required emotional agility. Likewise, the method process takes up valuable rehearsal and production time as the crew and cast wait for the actor to call up the right emotion.

    Actors using the method are likely to develop a self-indulgent feel “good” attitude which gravitates towards feelings closest to them and more comfortable for them to generate. The performance then becomes one that portrays the actor’s reality and not that of the character’s. You can see how this may stifle the actor’s imagination and limit the search for emotional truth. The method can likewise put a strain on the actor’s psyche. Using past events, some best left forgotten, can lead to situations where it affects the actor’s mental stability.

    Another danger is that of becoming bored with affected memory when repeated retakes or performances are required. There is also the possibility of being so caught up in past events one does not relate as the character.

    Another way to generate emotions is to rely on our emotional conditioning, the response to the word for each feeling, and the ability of the body to remember the resulting psychical (of the mind) and physical manifestations. This is the most simple way to produce a whole galaxy of emotions with little effort on our part. Through our childhood development, we are conditioned by the meaning of words, especially with regard to feelings. We respond to them without any conscious thought.

    Consider what happens when you are reading a good book or script. You become involved in the story and the characters. You see and feel their imaginary lives. And when you read the action description:

    She looks at his mangled body, then turns away in horror.

    The word itself is the key to what she felt. We don’t have to stop, reflect back on our own life and re-experience some past event. The response is there before we have time to think. The word itself is the signal to release all the information we have on that emotion and to invoke an immediate physical response.

    This response, while different for each person, still has common traits and a behavior that tells others which emotion is being felt. It’s almost a language in itself and a part of our non-verbal communications.

    The answer lies in the fact that in physiological terms, all emotions have similar traits. That is to say, if we were to test the breathing, heart rate, skin temperature, etc., of two people, one feeling rage and the other joy, the “physiological” signs would be similar. Only the face, gestures, and movements would signal which emotion they were actually feeling. But the flush face, the pulse and breathing rate, etc., all signifying the energy behind the emotion, would determine the size of the emotion.

    Through this process we have learned how to reach and find the emotion. But now, we must learn to nurture these feelings, making them big enough for the performance and adapting them to build credible characters.

    As we said before, emotions are feelings large enough to change your life or destroy it. They need to be powerful feelings, but all that you start with is the small sensation that the name of the emotion evokes. How can we make it bigger?

    As the word for the emotion is read, the actor feels a response centered somewhere in his body. For instance, the emotion “fear” might be felt in the stomach. For another actor, it might be in the shoulders and neck. “Suspicion” causes a response around the eyes. “Lust” in the hips or groin. “Desire” could be centered in the lips or eyes.

    For each actor, the physical response will vary. But the important thing is that the actor feels these responses and gains awareness of the physical symptoms in various parts of his body.

    How do we increase this energy level? There is a technique taught by Don Richardson, a well know TV director. It entails having the actor do some physical exercise, such as push-ups, until he’s completely out of breath. Then after a few moments, have him go directly into the scene with his intention and emotion located and his energy level at a peak. The result is astounding for the actor has no choice but to emote fully.

    The next step is to start from a totally relaxed state, retaining the selected intention and emotion, and then adding what one felt at the peak when doing the push-ups. The small emotion is now fired up by a burst of adrenaline flowing through the system as the body recalls the effect of the push-ups. The emotion is thus achieved on a large-scale as the body remembers the intense physiological state attained earlier.

    Now the emotion has to be adapted to create your specific character and make him credible. Credible emotions evolve out of the character’s perception of reality, their past experiences (emotional conditioning), and their struggles as they strive toward their goals. Character traits also play an important role in how emotions are adapted. For instance, is the person you are portraying mainly rational, mainly emotional, or a balance of the two, and as a result, would the feelings be out flowing, repressed, or even denied? Is there a great deal of inner conflict where the emotions hinder the character from attaining his objectives? What is the dynamic range of feelings, deep, shallow, explosive, etc? All these questions entail a good deal of research into creating the emotional side of a credible character.

    To assist you in this regard, I’ve compiled discussions on the various root emotions. These will aid you in adapting emotions to your specific character needs as well as improving your emotional range and awareness.

    The third way is indicating the emotions through mechanical acting. In this approach, the actor imitates the physical responses, mimicking the feelings as displayed by others.

    People often look down on mechanical acting. Yet sometimes, it becomes a necessity, either as a training or rehearsal tool exploring possible expressions and gestures, or when the actor’s capabilities cannot fulfill the complex demands of the scene. Demands such as acting style, blocking, stage business, and/or quick precise attitude and emotional changes. In such situations, producing the proper emotional illusion through a mechanical response will, at least, get the actor through these difficult moments. In addition, the director may specify certain emotional responses to attain his vision of the story, responses that may later be embellished by editing, music, and sound effects.

    In certain types of performances, particularly comedy sketches, parities, certain sit-coms, and stand up comedy, experience with mechanical acting is helpful. This is because the focus is centered on dialogue emphasis, precise timing, and clarity of attitudes. Likewise, exaggerated surface emotions have the potential to change unexpectedly while deeply felt realistic emotions lack this agility.

    This is not to say that the actor can not feel these emotions. In fact, he may feel them strongly, but the expression begins as a duplication of some physical response. Life studies, the observing of real people, nurture such emotional beginnings.

    ROOT EMOTIONS

    Root emotions are active feelings that clearly convey what is felt by the characters. They do not include happiness, sadness, sorrow, loneliness, or nervousness as these are not an emotion, but state of being. The state of being is the result of an emotion. Root emotions, on the other hand, are the cause and have the potential to affect change.

    Certain weak and complex emotions should likewise be avoided. Self-pity is weak in that it plays an effect and is often resented by the audience. Disinterest and boredom are likewise poor choices as there is no active force to motivate the character.

    Love is also a poor choice in that it is a complex emotion made up of many other feelings. Playing the feeling of love immobilizes the character rather than inviting action. A better choice would be to play a definitive emotion such as desire, lust, joy, exhilaration, or exaltation. In an unstable relationship, other emotions such as jealousy, suspicion, bewilderment, guilt, or embarrassment, along with certain other emotions, could be used. By using one single root emotion at a time, subtle shadings within the realm of love can be clarified as well as changes in the intensity.

    The emotions of the characters also plays into the psychological experience of the audience. It might be the voyeurism of spying on the character’s intimate moments. It could also be the vicarious experience of identifying with character’s situation or problems. It could also be the visceral feelings we experience as we watch the scene unfold, emotions moving us and giving us a sense of being entertained. Strong emotional choices and well-portrayed feelings, ones that connect with the viewer, can make for interesting and memorable scenes. They can help create anticipation, arouse curiosity, and hook us enough to be intrigue and involved.

    I’ve divided the most frequently used root emotions into five different categories. Each category is further clarified as to the focus of the emotion as well as the general clarifications.

    ROOT EMOTIONS

    DARK EMOTIONS (Active – Directed at or against someone, something.)

    Rage

    Anger

    Hatred

    Contempt

    Jealousy

    Envy

    SURVIVAL ORIENTED (Reactionary – Selfish – Focus usually on the expected or imagined.)

    Terror

    Horror

    Fear

    Dread

    Despair

    Grief

    Suspicion

    Apprehension

    GOAL ORIENTED (To find, to obtain, to provide – Focus usually on wants.)

    Revenge

    Ambition

    Greed

    Hope

    Desire

    Lust

    Determination

    Compassion

    Curiosity

    EGO ORIENTED (Self evaluation & result – Focus usually on masking or repressing the emotion.)

    Guilt

    Shame

    Indignation

    Intimidation

    Embarrassment

    Resentment

    BRIGHT EMOTIONS (Enjoyable – upbeat – Focus usually on the continued enjoyment.)

    Exaltation

    Joy

    Pride

    Exhilaration

    Wonderment

    Bewilderment

    In review, root emotions motivate you to fight for something, to change your (the character’s) life or destroy him (the character’s dramatic soul). To be a strong sympathetic character, always play the fighter’s side of the emotion, thinking you can win rather than loose. The physical look of one particular emotion will vary depending on the story situation, the characters, and the natural casting chemistry within and between actors.

    To further your knowledge on this subject, explore the physical sensations, sources, forms, and dynamics of the most common root emotions. Observe emotions in life as well as performances. What are the defining characteristics? Such research will also serve as a guide in stretching the clarity, strength, and polarity of your emotional repertoire.

    This chapter has covered the basic skills used in building and implementing dramatic emotions. Use these skills as tools to nurture and release the character’s true feelings, and make them readable to the audience. Most important, create emotions that serve the story, its genre and purpose.

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    Source by Erik Sean McGiven

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  • How To Start Marketing Your Business

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    To new business owners, starting a business is often its own reward. They are thrilled to be able to be their own bosses, and to successfully get a business up and running. Often they are happy just to keep the dream alive.

    But every business needs to grow. That doesn’t mean you have to reach out to a larger market – it means working toward increasing your share of the one you are targeting. This will keep your business healthy enough to survive obstacles such as tough economic times.

    In order to keep moving forward, we need to market our businesses constantly. We need to dedicate a certain percentage of our resources to building our brand and reaching our target market. Here are some simple things you can do to help your business grow.

    Have a clear picture of your target market.

    Find out what types of people use the products and services you provide and respond to your business philosophies. If you’re not marketing to the right people, all will be lost.

    Research, research, research.

    Determine how to best reach your target market and what they expect out of your offerings. Study your competition carefully, and make note of what they’re doing right and wrong.

    Choose your marketing channels wisely.

    If your target market rarely reads, there’s no point in advertising in a magazine. Use what you’ve learned about them to find the best possible outlets for your message, and focus your marketing efforts there.

    Give your advertising a chance.

    Studies show that consumers require repeated exposure to a product before they will even consider buying. So don’t be surprised if one ad run doesn’t bring spectacular results. If you’ve done your homework and found a viable way to reach your market, run the ad at least two more times before you evaluate the results.

    Take advantage of free publicity.

    Sending out press releases and finding other ways to attract the media will give you high-quality exposure, and it won’t eat into your budget.

    Keep track of the effectiveness of your marketing efforts.

    If what you’re doing is working, you should be generating more revenue. Use some of that revenue to do more marketing. If it isn’t working, make adjustments and try again.

    Sometimes you’ll have to take a step back with your marketing plans. But that’s not a sign you’ve failed. It’s a sign that you’re a smart marketer. Sometimes the market changes, and it’s up to us to monitor those changes and adjust our marketing plans accordingly. No successful company markets the same way forever. By evolving with our target market, we can make our marketing work better.

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    Source by Jon Allo

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  • Mindset Vs Skill – How to Succeed in Business

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    An online mentor of mine, Jennifer Allwood, shares that “business is 20% strategy and 80% mindset”. While the “strategy” of a business is very important, to be successful you must have the right mindset about yourself, your company and your customers.

    If you are a small business owner and you are looking for the “secret strategy” to change your business, you could spend all of your time in search of strategy. For example, scroll through Facebook and you will see the 100’s of trainers, coaches and experts who are trying to sell you the latest “gadget” for success.

    Stop enrolling in every Free Group and Free Download that you see. You are WASTING your time by chasing a shiny new object that is just not out there.

    Learn the skills you need, know your audience, and stay plugged in to your industry. After that? It’s all about Mindset.

    How do you know if you have a mindset problem?

    You keep searching for the “right” skill, the “right” training or that “right” coach that will give you the Magic Pill or Secret Sauce for success. Here are a few examples that might indicate you have a mindset problem:

    • Complain about the success of others
    • Enroll in every course/training you see on social media
    • Continue to ask for the Right Words to describe your product or what you do
    • Buy every planner in search of a better system
    • Always busy but not completing Income Producing Activities
    • Not consistent in small, daily activities

    If you are searching constantly for skills, then you don’t believe in yourself or your business. To succeed, you need the mindset component along with the skills.

    Subconscious Mind

    Your Subconscious Mind runs the show based on unfiltered information known as beliefs. Your Mind believes everything that you think. For example, when you say these things, your mind believes it:

    • Why am I so stupid?
    • I will never get that promotion.
    • I’m not very pretty.
    • I’m not smart enough.
    • I’ll never be successful like “Suzy”.

    Each and every time you say these phrases out loud and in your mind, your brain believes the statement! Next, you must learn how to change your mindset.

    How to Change Your Mindset?

    If we know that changing our mindset is key, then why are we not doing it? And most importantly how do we change our mindset? It’s not easy, but keep it simple and you can Change Your Mindset!

    There are several recommendations that I can make for changing your mindset.

    • Personal Development?-?I highly recommend Mel Robbins and her resources.
    • Daily Affirmations! Write them on your bathroom mirror or maybe a Pinterest board.
    • Eliminate Distractions and get new friends
    • Don’t allow yourself to say negative things about yourself
    • Make it an everyday habit

    To get the life you want, you must let go of old limiting beliefs. Tackle the mindset beliefs that are keeping you from moving forward, keeping you from reaching your greatness!

    If you have a small business, please know that you must have the skills for your business. But, you must also have the right mindset for success. You need skills and mindset!

    How do you continually feed your mindset?

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    Source by Kathleen C Olivieri

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  • When Your Husband Leaves You Without Any Warning

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    I often get correspondence from wives who are now living alone but who never saw this coming. Generally, they will come home from work or from running errands one day and find that their husband has left them. Or, the husband will abruptly pack his bags and announce that the marriage is no longer working for him and he thinks that he might “want out.” However this plays out, often the wife will tell me that she had no real warning and that this was very much an abrupt and unwelcome surprise.

    I often hear things like “I can’t believe he left me. I never really saw this coming. I knew we had issues, but every married couple has issues. I just can’t believe that he would leave me without ever trying to work things out. And, I don’t know where to go from here. I don’t want a divorce. I want him to come back home, but I’m so angry that he didn’t try to approach me first that I don’t even know how to approach him. What should I do?”

    The answer to this question is going to depend upon the circumstances and the people involved. But, it will often help to deal directly with the real situation that is in front of you, rather than trying to deal with the situation that you envision or hope exists. I will discuss this more in the following article.

    Don’t Focus Only On The Fact That You Had No Warning When He Left. Focus On What To Do Now And Where To Go From Here: It’s completely normal to be floored by the fact that one morning you woke up with a husband living at home, but by evening you were alone without any warning. This is an abrupt blow that can be devastating. But, because it can be important to act quickly, you will often have to make a conscious decision not to focus on the way in which this happened.

    Yes, your husband could most certainly have handled this in a different and preferable way, but neither of you can change that now. There’s a real risk in allowing your reaction to how he handled this to interfere with how you act toward him in the present. It can really help to ask yourself what your ultimate goal is in this situation. Some women will just want to handle themselves with dignity and grace while coping and moving on in the best way that they know how.

    Others will decide that their primary goal is to get their husband to come back home as quickly as possible. Often, what will help with one of these goals will also help with the other. No matter what you decide that you ultimately want, it’s my experience that you will often have an easier time getting it if you focus on what is right in front of you rather than the manner in which it happened. Yes, being blindsided is very painful and shocking, but it can hurt rather than help the situation to dwell on this rather than taking action.

    Evaluating What Is Going To Most Improve Your Situation: Once you’ve decided where you want to go from here, it’s important to step back and to try to take the emotion out of it to come up with the strategy that is most likely to get you what you want. It’s so easy to lash out, feel resentful, and to feel sorry for yourself. But these things usually won’t get you any closer to what you want. In fact, allowing your feelings to run your actions will often keep you from getting what you want.

    Debating with your husband, arguing with him, or lashing out will often push him even further away and just make you more upset with your situation. It’s usually better, at least in my experience and observation, to try as best as you can to limit yourself to the actions that strengthen you and allow you to feel in control rather than to surrender to those feelings or actions that are natural (and may relieve some tension) but which will only make the situation worse.

    It’s usually when you can somewhat rise above this and handle yourself with strength and calm that you will often begin to gain some ground. I absolutely know that this can be difficult. Sometimes, you might need to wait to interact with your husband until you can actually be calm. This may not be possible in the very beginning. But it can really help to always keep in mind your ultimate goal so that you don’t lose control of your strategy.

    Interacting With Your Husband During This Difficult Situation: It’s probably fair to say that there will come a time when you will need to communicate with your husband about where your marriage is going from here. Whether it’s fair or not, your husband has sent a clear message by leaving. Now, it’s up to you as to how you are going to reply to that message. But, before you do, define how you ultimately want for this to turn out. If you could put aside the shock, the hurt, and the fear, what is your greatest wish right now? The answer to this question is what you must place your focus upon.

    Because I would argue that no matter what your ultimate goal is, you’ll usually get closer to it by trying to interact with him in a positive way. Even if you are ultimately going to end the marriage, this was an important relationship in your life and it will likely help you going forward if you can keep this as positive as you can. If you want to save the marriage, improving your relationship and communications going forward will go a long way toward helping you to eventually save your marriage.

    There is absolutely nothing wrong with telling your husband that although you’re devastated that he would leave you without warning, you would like to interact with him in a positive way going forward. Since the two of you were once the most important people in one another’s lives (and may well still be) it just doesn’t make sense to allow for one negative action to turn into something that is even worse. He may not be all that receptive to this at first, but when he sees that you’re not reacting as he anticipated and are working with him rather than against him, you will sometimes be able to slowly rebuild with time. This is often true even if you are not 100% sure how you want to approach him right now.

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    Source by Leslie Cane

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