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  • Marketing Strategy: 7 Steps to Market Segmentation

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    Market segmentation is widely defined as being a complex process consisting in two main phases:

    – identification of broad, large markets

    – segmentation of these markets in order to select the most appropriate target markets and develop Marketing mixes accordingly.

    Everyone within the Marketing world knows and speaks of segmentation yet not many truly understand its underlying mechanics, thus failure is just around the corner. What causes this? It has been documented that most marketers fail the segmentation exam and start with a narrow mind and a bunch of misconceptions such as “all teenagers are rebels”, “all elderly women buy the same cosmetics brands” and so on. There are many dimensions to be considered, and uncovering them is certainly an exercise of creativity.

    The most widely employed model of market segmentation comprises 7 steps, each of them designed to encourage the marketer to come with a creative approach.

    STEP 1: Identify and name the broad market

    You have to have figured out by this moment what broad market your business aims at. If your company is already on a market, this can be a starting point; more options are available for a new business but resources would normally be a little limited.

    The biggest challenge is to find the right balance for your business: use your experience, knowledge and common sense to estimate if the market you have just identified earlier is not too narrow or too broad for you.

    STEP 2: Identify and make an inventory of potential customers’ needs

    This step pushes the creativity challenge even farther, since it can be compared to a brainstorming session.

    What you have to figure out is what needs the consumers from the broad market identified earlier might have. The more possible needs you can come up with, the better.

    Got yourself stuck in this stage of segmentation? Try to put yourself into the shoes of your potential customers: why would they buy your product, what could possibly trigger a buying decision? Answering these questions can help you list most needs of potential customers on a given product market.

    STEP 3: Formulate narrower markets

    McCarthy and Perreault suggest forming sub-markets around what you would call your “typical customer”, then aggregate similar people into this segment, on the condition to be able to satisfy their needs using the same Marketing mix.

    Start building a column with dimensions of the major need you try to cover: this will make it easier for you to decide if a given person should be included in the first segment or you should form a new segment. Also create a list of people-related features, demographics included, for each narrow market you form – a further step will ask you to name them.

    There is no exact formula on how to form narrow markets: use your best judgement and experience. Do not avoid asking opinions even from non-Marketing professionals, as different people can have different opinions and you can usually count on at least those items most people agree on.

    STEP 4: Identify the determining dimensions

    Carefully review the list resulted form the previous step. You should have by now a list of need dimensions for each market segment: try to identify those that carry a determining power.

    Reviewing the needs and attitudes of those you included within each market segment can help you figure out the determining dimensions.

    STEP 5: Name possible segment markets

    You have identified the determining dimensions of your market segments, now review them one by one and give them an appropriate name.

    A good way of naming these markets is to rely on the most important determining dimension.

    STEP 6: Evaluate the behavior of market segments

    Once you are done naming each market segment, allow time to consider what other aspects you know about them. It is important for a marketer to understand market behavior and what triggers it. You might notice that, while most segments have similar needs, they’re still different needs: understanding the difference and acting upon it is the key to achieve success using competitive offerings.

    STEP 7: Estimate the size of each market segment

    Each segment identified, named and studied during the previous stages should finally be given an estimate size, even if, for lack of data, it is only a rough estimate.

    Estimates of market segments will come in handy later, by offering a support for sales forecasts and help plan the Marketing mix: the more data we can gather at this moment, the easier further planning and strategy will be.

    These were the steps to segment a market, briefly presented. If performed correctly and thoroughly, you should now be able to have a glimpse of how to build Marketing mixes for each market segment.

    This 7 steps approach to market segmentation is very simple and practical and works for most marketers. However, if you are curious about other methods and want to experiment, you should take a look at computer-aided techniques, such as clustering and positioning.

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    Source by Otilia Otlacan

    Views: 0

  • Recreating Lindsey Buckingham’s Signature Sounds – Big Love

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    One of the less well known guitarists of the last entry is Lindsey Buckingham of Fleetwood Mac. Newer guitarists may not be familiar with Buckingham, but his style and sound inspired several generations of guitarists. He’s probably most well known for hist signing, songwriting and production skills, but his guitar playing was instrumental in Fleetwood Mac’s success, so it’s worth taking a look at. I’m going to take a look at his sound and give you an idea of the kind of setup that’s required to reproduce some of his signature sounds.

    The first thing that makes Buckingham so unique is the fact that he uses a fingerpicking style. Originally a Banjo player, Lindsey Buckingham made the transition to guitar, and his virtuoso performances are a signature sound of Fleetwood Mac. Buckingham plays bass lines with his thumb while he uses the other fingers to voice melodies and sweeping arpeggios. The resultant music is truly original and inspiring.

    Looking at his setup, one thing that you’ll notice is that he has a truly unique axe. His Turner electric is not a guitar that has much fame, outside of Lindsey Buckingham. It’s shape, distinctly violin like, is one of the most unique features of the guitar. You will also find Buckingham playing an acoustic on various tracks. There’s nothing especially important to be said about his acoustic, other than the way he plays the instrument.

    There’s one performance in specific that I’d like to analyze. During one particular Fleetwood Mac reunion, back in 1997, Buckingham performed the song “Big Love”, playing a Gibson Chet Atkins sold-body nylon string guitar. The reason that I’ve chosen this one is because of the unique sound that he got using that particular guitar. You can actually recreate this sound, even if you don’t have this particular axe. Using your acoustic electric guitar, I will show you how to simulate this sound using your guitar and a few simple effects.

    In order to simulate this sound, you’re going to need delay and reverb. If you have an amp with these effects built in, that will do just fine. For the delay time, you’re going to want to set it around 125 milliseconds. You’ll need to be able to adjust the blend on the delay, adjusting it to be mostly the direct signal. This is important because when you’re soloing and playing intricate melodies, you don’t want the delayed notes muddying down the sound you’re trying to create. If you’re using a delay unit, such as those built in to some amplifiers, that only allows you to adjust the delay time by tapping a button, you may find it difficult to get the exact sound that I’m trying to teach. You can play around with the settings to see if you can get a sound that’s similar or just use this guide as a way to get ideas for new sounds.

    Another adjustment that you may want to consider, if you have a nice delay, is to roll off some of the high end from the delayed signal. Again, this is to make sure that your original notes really sing through. As for your reverb, you’re going to want to reduce the size of the room to around 35 percent. If you’re not allowed to change the room size, don’t worry, just know this is going to be more of a creative exercise for you, rather than an all out recreation of the original sounds of Buckingham. Finally, you’re going to want to roll out a good bit of the midrange from your amplifier (or board if you’re going directly into one). This is going to keep things crisp and clear when you’re really laying on the notes.

    While using built in effects are limiting, you can get a unique sound using this guide. For those with a nice effects board or pedals that allow them to adjust all of these settings, you’ll find a deep airy sound is the result of these settings. This is great to add some depth to a track where the main guitar part is played on an acoustic. If you haven’t heard the version of “Big Love” that I’m talking about, get on the net and look for videos or recordings from the ’97 Fleetwood Mac reunion show. It’s truly worth your time & is a great performance! Good luck & happy guitarring!

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    Source by John T Halbert

    Views: 0

  • Discover How to Become Rich, Famous & Successful With a Modeling Career

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    The road to becoming rich, famous and successful in modeling is not for everyone though. In the old days you had to be extra extra skinny in order to become a rich and famous model. Today however there are far more modeling avenues that entice many looks and body types.

    You may have looked at a fashion magazine and have a pretty good idea of what modeling is. To get a good look into the requirements of modeling you may want to catch an episode of Americas Next Top Model. Most of the models on the tv show are high fashion models, but you may be wanting to get into another type of modeling like plus size industry. Modeling is everywhere we go and look. Only you know what kind of model you could be but be truthful with you self.

    Before you jump into pursuing a modeling career you need to make sure your are doing it for the right reasons. If not you will misguide yourself and will not make it to where you want. If you think modeling is a good way to jump start your singing or acting career you best think about it again. People with this attitude rarely make it very far in modeling. All the top modeling professionals frown upon people like this everyday. To become rich, famous and successful in a modeling career you will need to have dedication and passion.

    If you are male you will need to step outside of your shell to succeed. You see more female models than you do male models. Do not let this get you down by thinking you have to display big muscles. Modeling has went through many changes since the early days. Over time new genres, styles and looks have been added with even more on the way. You just might have that new style consumers are trying to find. You just never know in our ever changing world.

    To be successful in a career of modeling you will need a high level of self confidence and ambition. No matter if you are female, male or what your body type is. When you enter into modeling you will have to work extra hard to be be transformed into a popular well known face. Be careful not to get ties up with an agency that does not treat or handle their clients honestly and respectfully. Every good agency will not need you to give them money. They will earn money once you land your first modeling gig.

    When you find open calls make sure you go and do not talk yourself into not going no matter what you are thinking. Just do it. You see an open call is just as good as open houses where interested models are invited to be interviewed. You need to dress in clothing that will exhibit your body type and features. You will also want to pick an outfit out that is fashionable. This is your chance to prove yourself to the representatives of the agency. You will not stand out to them if you just wear your normal everyday clothes. To become famous you have to act like your famous in order to become rich, famous and successful in modeling.

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    Source by Dennis J. Cole

    Views: 0

  • 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

    Views: 0

  • CFD Trading Benefits

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    Contracts for Difference (CFD) are attractive trading instruments to many traders. This financial derivative has numerous benefits that draw the attention of amateur and expert traders. CFD trading is very flexible and an efficient alternative to traditional investing.

    Here is a list of reasons why CFD Trading is popular among traders:

    No stamp duty

    A stamp duty is a tax imposed on numerous acquisitions, including selling real estate, cars, and assets belonging to a business. Remember, CFDs give traders the opportunity to speculate on markets without physically owning the underlying asset. Since you do not own the underlying asset, you won’t have to pay stamp duty.

    Trade in both rising and falling markets

    Another solid advantage of CFD trading is that traders are not restricted to open in only one position. CFDs are very flexible financial instruments because it can make you trade in both falling and rising markets, allowing you to produce more effective strategies for more profit.

    Margin Trading

    One of the most notable aspects of CFD is that you can trade using margin. This means you don’t need to purchase the full value of an asset to open a position, you only need to deposit a fraction of the actual trade size of each transaction. For example, you have a CFD share for $100, if your broker has a margin requirement of 5% then you only have to pay $5 to open the position.

    Trading using a margin means you can multiply your profit although it is important to recognize that losses can also be multiplied in margin trading. Thus you can lose more than your initial deposits.

    Hedge Positions

    CFDs are one of the best hedging tools for traders. If you are anticipating a loss in your current position then you can limit your potential risk by using a CFD to hedge your position. For example, if you have a short position in an asset that is accumulating losses, you can open a long position to balance your losses. The long position will start to gain profits once the prices move in the upward direction.

    The foreign exchange market has numerous features that attract investors and traders alike. One notable feature of this immense market is that it is a decentralized marketplace – trading transactions don’t happen on one centralized exchange. In the Forex market, fx trading is conducted electronically or over-the-counter which means transactions happen electronically.

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    Source by Stephanie Torres

    Views: 0

  • Welding Jobs: Ideas You Can Use At Home To Make Money Welding (No Boss While You Make $100,000)

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    What if you could make $100,000 a year welding from home?

    What if you could make even an extra $500 a month from home, using your current skills? If you are a welder with basic welding skills and you are between jobs or you are being under paid in your current job, it might be worth your time to read this article – let’s think outside the box for just a minute on how you can make money welding from home.

    From Home Welding # 1:

    Teaching or tutoring any skill is a very profitable business. In any town of any size you’ll see at least one tutoring business in a strip mall brick and mortar location. In that same town will be at least a dozen other tutors working from home, making good money.

    Yes, most of the time they are tutoring math and reading to students. Lean back and think about what skills you have that can also be used in a tutoring business you can set up and milk cash from, like milk from a cow.

    Let’s say you are good enough with TIG to weld razor blades or pop can butts.

    If you can teach a non welder to operate a TIG torch good enough to go on and practice on their own at their home in about 3 hours of your hands on theirs – they will pay up to $100 an hour for 3 hours of TIG instruction. Just 2 students a day would bring you $100,000 a year. If you think I’m kidding I’m NOT! There are many reasons why education is so valuable – and that includes intense, focused tutoring in welding.

    6G pipe welding is the highest paid of all welding certifications – most 6G welders make $100k to $300k a year – and demand is crazy. However, if you are a 6G welder and you want to stay home, you can set up and teach 6G in your garage. Let’s say you do this with 7 students, each paying you $10,000 for a 3 month course. Yes, they will pay it – especially if you show them how they will have more time with your hand on theirs (the #1 secret to learning 6G fast).

    From Home Welding # 2:

    I was in Palm Springs the other day. I have been in and around the trades for 30 years… and when you see a tradesman’s truck and it is late model without dents or many scratches, clean, organized and well equipped, it means (99% of the time) that guy is making money.

    I pulled up to a light behind just such a truck – “Joe’s BBQ Service and Repair.” That’s it – that is all Joe does. He will weld cast aluminum or steel. He’ll clean and polish. He’ll replace a burner or a control. OR he’ll buy your old unit and sell / or sell you a new one.

    Yes, you need a town with a lot of high end BBQs. Other than that, go get it.

    From Home Welding # 3:

    Large steel cut outs. In art of all kinds, size matters. For example, 20 years ago we purchased two 4′ long coat racks – each is a piece of 1.5″ x 1.5″ x 1/8″ angle 4′ long with 6 horse shoes welded to the angle to hang the coats.

    On the horizontal surface of the angle is welded a scene made of 7 horse and 7 tree cut-outs. We paid $185 for each of these 20 years ago… that would be about $300 a piece in today’s dollars.

    The problem with you making these is that the 14 cut outs on each unit are too small too many to cut by hand – you need a computerized plasma table to make these.

    Here is where the magic of size makes all the difference.

    The artist who drew the cut outs on our coat rack was good. Each of the 7 horses is different and beautiful, as well as the trees. Any – or all of these – cut outs can be scaled up with chalk onto a sheet of say 4′ x 8′ x 3/16″ steel. Now, all you need is a plasma or an oxy torch to create the large version.

    What would a horse cut from a 4′ x 8′ sheet sell for?

    $300 to $700. It would depend on where you are and how you market it. Marketing is a large part of any business. Good marketing is not hard – you can do it.

    You can see, if you could get a “business pipe” full of inventory and sales and you were delivering 2 horses a day, you could easily make $100k. The other major opportunity with big cut outs is gates. The key to all of this stuff in the art category is beautiful line drawings. If you are not an artist, hire one on the condition that they sign the copyright to you.

    There are endless ideas to utilize even your most basic welding skills from home to make an excellent living or just extra money. The trick is:

    Step A:

    Find what will work best for you.

    Step B:

    Write out a simple plan of attack. Don’t put the cart before the horse. Many small businesses fail because the owner gets all wrapped up in the details and loses site of what is important. Here is what is important: Don’t spend money – MAKE MONEY!

    Step C:

    The first rule of business is to GET NOTICED. That is also the end goal of all marketing – once you have enough eyeballs on you, you will succeed. The common mistake is to leave marketing for last while concentrating on every little rule and piece of paper. A business license will do you no good if you don’t make money! Save your money and get it (if you really need one) when you make some money. Towns and cities will simply say, “do you have a business license?” When they ask, say: “I’m getting one now.”

    Conclusion:

    You are blessed to live in a country where you can go from nothing to something in a hurry. However, to get anywhere in a hurry requires running hard. You’ll never regret it.

    What should you do next?

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    Source by Scott R. Linden

    Views: 0

  • Five Distinct Mindsets of an Entrepreneur

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    I have written in this column before about whether entrepreneurs are made or born (January 18). As I noted in that column, the issue is no longer the subject of debate. Entrepreneurs can be made, that much is clear. Unfortunately, the culmination of that debate begs a new question: What do aspiring entrepreneurs need to learn?

    The most fruitful research into this question has identified a number of cognitive skills that “expert entrepreneurs” possess. Cognitive skills are, in short, unique ways of thinking. Entrepreneurs who have been examined to reveal the cognitive skills they possess are usually NOT able to articulate them. They are aware that they’ve developed capabilities to convert disparate resources into profitable opportunities, but they can’t exactly say how they do it.

    Research has identified distinct patterns in the thought processes in an exceedingly diverse set of entrepreneurs. Scholars have translated these patterns into terms that can be used by people who teach entrepreneurship and, more importantly, those who practice it.

    In another field of study, Harvard psychologist Howard Gardner wrote a book titled “Five Minds for the Future”. The rationale for Gardner’s work is that: “One cannot even begin to develop an educational system unless one has in mind the knowledge and skills that one values, and the kinds of individuals one hopes will emerge at the end”. His book focuses on the five “mindsets” that he believes essential to general education: the disciplined mind, the synthesizing mind, the creative mind, the ethical mind, and the responsible mind.

    While Gardner’s minds are debatable, his perspective that the way people think largely defines who they become is instructive. In light of his work, it seems natural to wonder whether it is possible to identify five specific “mindsets” that are important to entrepreneurial success. My own research has identified five such mindsets: the opportunity recognizing mind, the designing mind, the risk managing mind, the resilient mind, and the effectuating mind.

    The opportunity recognizing mind is cultivated by identifying “pain points” in industry-specific value chains. Expert entrepreneurs rapidly go from spotting a pain point to analyzing the size of the market opportunity. Aspiring entrepreneurs, in contrast, are more likely to extrapolate from limited experience, and they tend to neglect analyzing the SIZE of the opportunity.

    The designing mind has learned how to create repeatable production processes that consistently create valuable output for an identified market. In fact, one of the main differentiators between entrepreneurship and small business is the entrepreneur designs and develops of production processes that do not require his or her constant attention. Small business owners generally enjoy working in their business. Entrepreneurs prefer the design approach of working on their business.

    Risk management is a too-often overlooked element of entrepreneurial expertise. A common belief is that entrepreneurs are risk takers. In reality, entrepreneurs have learned to be highly effective risk minimizers. Where others see intolerable risk, the expert entrepreneur has learned to reduce the risk to an acceptable level. For example, expert entrepreneurs operate according to the “principle of affordable loss” when launching a new venture. They don’t risk more than they can afford to lose.

    The resilient mind is simply the ability to bounce back from the inevitable failures and setbacks that all entrepreneurs encounter. Expert entrepreneurs have learned to distinguish their business failures from personal failure. Without question they still experience disappointment and frustration, but they don’t turn their negative emotions inward. They view their business experiences objectively, and they strive to learn as much or more from their failures than they do from their successes.

    Finally, the effectuating mind is simply the ability realistically to assess one’s talents, situation, and prospects. Any particular entrepreneurial opportunity could be pursued by anyone, but not everyone can pursue each opportunity. Some people simply will be better prepared to capitalize on an opportunity than others. This may be due to their life history, family circumstances, genetic gifts, or other factors. Expert entrepreneurs have learned honestly to assess their own unique talents and to leverage them in pursuit of opportunity. They do not care that others may be better suited to pursue other, potentially more lucrative, opportunities.

    The five mindsets entrepreneurial expertise are targets for lifelong learning and development. No matter your current level of expertise in any of these mindsets it is likely that you have room for improvement. If you deliberately practice and develop skills in these specific mindsets over time, the chances for your entrepreneurial success inexorably will improve.

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    Source by Dr. Thomas Duening

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  • Creativity and Entrepreneurship

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    We will commence our assignment with a discussion of sources of new ideas. We will then examine methods of generating ideas, creative problem solving, the product planning and development process, and then e-commerce. We will then generate several new ideas using brain writing, the checklist method, and free association. We will apply the product development stage to our new ideas and end our discussion with two alternatives to e-commerce.

    Sources of new ideas include consumers, existing products and services, distribution channels and even the Federal Government (Hisrich, 2008). The files of the patent office are full of new ideas and new product ideas can form as a result of government regulations. Research and development is the largest source of new ideas and can occur in a formal lab or in a garage or basement.

    Many methods can be use to generate new ideas. In focus groups, a moderator leads a group of people through open, in-depth discussions. These groups generally consist of eight to fourteen participants. They are stimulated by comments from other group members in creatively conceptualizing and developing a new product idea to fill a market need. Focus groups are also an excellent way to screen ideas and concepts. Problem inventory analysis is another great method of generating new ideas. It uses individuals in a manner that is similar to that of focus groups. Consumers are provided with a list of problems in a general product category and are then asked to identify and discuss products in this category that have the particular problem. This method should be used primarily to identify product ideas for further evaluation.

    Creative problem solving takes the generation of new ideas to a higher level. Brainstorming allows people to be stimulated to greater creativity by meeting with others and participating in organized group experiences. Rules include the following:

    a) Criticism not allowed

    b) Freewheeling is encouraged

    c) Quantity of ideas is desired

    d) Encourage combinations and improvements of ideas

    Brainstorming should be fun and not contain any domination or inhibition of discussion. It is highly effective in groups of six to twelve individuals and can generate ideas about a problem within a limited time frame through the spontaneous contributions of participants. Reverse brainstorming offers a different perspective as it is similar to brainstorming, except criticism is allowed. It is based on finding fault by asking in how many ways an idea can fail. The focus is on the negative aspects of a product, service, or idea. One must be careful to maintain group's morale though. Reverse brainstorming can be used prior to other forms of creative techniques to stimulate innovative thinking and involves the identification of everything wrong with an idea. It is usually worthwhile since is easier for people to be critical about an idea instead of coming up with a new one.

    Brainwriting is a form of written brainstorming and gives participants more time to think than brainstorming. It is silent and each group member writes down three ideas within five minutes. A form is passed around to all participants while a leader monitors time intervals and can even modify them. The Gordon method is another method of creative problem solving and begins with group members not knowing the exact nature of a problem. This ensures that a solution is not clouded by preconceived ideas and behavioral problems. A general concept associated with the problem is mentioned and the group then expresses a number of ideas. A concept is then developed and related concepts are developed. Finally, the actual problem is revealed.

    The checklist method involves the development of a new idea through a list of related issues or suggestions. The following questions demonstrate how the checklist method is used:

    ii.Put to other uses? New ways to use as-is?

    iii.Adapt? What else like this? What could I copy

    iv.Modify? New twist? Change meaning, color, form, shape?

    v.Magnify? What to add?

    vi.Minify? What substitute? Smaller?

    vii.Substitute? What else instead? Other material?

    viii.Rearrange? Other pattern?

    ix.Reverse?

    x.Combine? Blend?

    Free association is another form of creative problem solving and is one of the simplest and yet most most effective methods. It is helpful in developing an entirely new slant to a problem. First, a word or phrase related to a problem is written down. Then other ones are written down and so on. Each new word attempts to add something new to the ongoing thought processes. This creates a chain of ideas ending with a new product idea.

    The product planning and development process is crucial to an entrepreneur's success. One must first establish evaluation criteria by assessing the market opportunity and size. One must evaluate current competing producers, prices, and marketing efforts. New idea should have synergy with existing management capabilities and marketing strategies. The proposed product or service idea should be able to be supported by and contribute to a company's financial well-being. One should evaluate the compatibility of a new product's production requirements with existing plant, machinery, and personnel. Entrepreneurs should be concerned with formally evaluating an idea throughout its evolution. The idea stage involves identifying new product or service ideas while eliminating impractical product or service ideas.

    One must determine the need for the new idea as well as its value to the company to ensure both prior to proceeding with the ideas. The need determination should focus on the type of need, its timing, the users involved with trying the product or service, the importance of controllable marketing variables, the overall market structure, and the characteristics of the market. In the concept stage, a new product should be developed further and refined through interaction with consumers. The refined idea is then tested to determine consumer acceptance. Features, price, and promotion should be evaluated for the concept being studied and any major competing products. The product development stage involves determining consumer reactions to the physical product. An entrepreneur can provide samples in this stage. The final stage of the development process consists of the test marketing stage, which provides actual sales results that indicate the acceptance level of consumers.

    E-commerce is a relatively new concept in the business world and should be used creatively. An entrepreneur must address additional specific issues due to continually-evolving technology. For instance, one must decide if he will run the internet operations of the business or outsource the task to another firm. A website is often created and must be aesthetically-pleasing and fully functional. Ninety percent of small businesses use websites and ease of use is important with websites. The website is a communication vehicle in which search capability and speed are equally important. A website should have a shopping cart, secure server connection, credit card payment processing, and a customer feedback feature. It should be customized for specific target market groups and should be compatible with various browsers.

    The tracking of customer information is vitally important when dealing with e-commerce. This is often accomplished via electronic databases. Doing so supports personal marketing and captures customer attention with customized one-to-one marketing. It is critically important to protect the privacy of individuals when keeping databases.

    When conducting e-commerce as an entrepreneurial company, one's products should be able to be delivered economically and conveniently. Products must be interesting to a large number of people and a company must be prepared to ship products out of its geographic location. Online operations must bring significant reductions in cost as compared to having a store.

    We now turn our attention to the generation of clothing ideas for Libya. We utilized brainwriting with a time limit of five minutes to come up with a new idea. We drafted an adjustable robe for women that can be rolled up and then attached with velcro to shorten it when desired to offer additional clothing and styling capabilities. We then used the checklist method and came up with the following:

    xi.Modify? New twist? Change meaning, color, form, shape?

    a) Can offer robe in multiple colors such as white, red, and blue

    xii.Substitute? What else instead? Other material?

    a) Can make robes out of breathable polyester / nylon material as used in athletic wear

    b) Allows for wicking away of sweat and moisture to keep clothing dry and light in weight

    We then used free association to come up with a list of related words:

    -xiii.cooling, light weight, windproof, light colors, reflective material xiv. End result is metallic-colored fabric that will reflect sunlight like aluminum foil

    We then applied product development stages to the new ideas to formulate a final product concept. We first established our evaluation criteria by assessing market opportunity and size. The population of Libya is 6,173,579, so this will serve as our potential market (Wikipedia, 2009). We then turned to the idea stage to identify new product ideas. These ideas included the following thought process:

    a) Can offer robe in multiple colors such as white, red, and blue

    b) Can make robes out of breathable polyester / nylon material as used in athletic wear

    c) Roll-up velcro to shorten robe for greater cooling and comfort

    d) metallic-colored fabric that will reflect sunlight like aluminum foil

    xv.Eliminate impractical product / service ideas in this stage

    a) Metallic-colored fabric will be eliminated

    b) Reflecting sun can create an oven effect on wearer

    c) Can actually make customer hotter and not cooler

    xvi.Determine the need for the new idea as well as its value to the company to ensure both prior to proceeding with ideas

    a) Multiple robe colors will appeal to different people

    b) Wicking-material robe will appeal to men more

    c) Roll-up robe will appeal to women more

    d) Can result in greater sales and market share

    e) Is beneficial to company to sell more robes while meeting individual needs of customers via mass customization

    We then moved on to the concept stage to further develop and refine our new product ideas through interaction with consumers. We plan on participating in trade shows to present our new ideas. We will display prototypes and obtain feedback from potential customers. Our refined ideas will then be tested to determine consumer acceptance. We will take consumer ideas into consideration and tweak prototypes accordingly. We will then consider the pricing and products of our competition and price our products accordingly to maintain a competitive edge. In the product development stage, we will determine consumers' reactions to the physical product by allowing customers to try our robes on at trade shows. We will then participate in the test marketing stage by proving actual sales results once our products enter the market.

    Alternatives for the use of e-commerce in conducting one of the product development stages for the actual commercialization of our final product idea can involve the creation of a company website that is easy to use. We will incorporate powerful search capabilities while ensuring that our site performs with acceptable speed. We will include a shopping cart, secure server connection, credit card payment, and customer feedback feature in our website. In addition, our website will be customized for specific target market groups and be compatible with various browsers. We will also track customer information by creating an electronic database that supports personal marketing. This will allow us to capture customers' attention with customized one-to-one marketing while protecting the privacy of individuals via strong database encryption. Incorporating online operations will bring significant reductions in cost as compared to having a store. This will allow us to pass savings on to customers via lower prices and greater value.

    Bibliography

    Hisrich, Robert D., Peters, Michael P., and Shepherd, Dean A. (2008). Entrepreneurship
    (7th ed.). Boston: McGraw-Hill Irwin.

    Wikipedia (2009). Libya. Retrieved July 23,2009 from http://en.wikipedia.org/wiki/Libya .

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    Source by Bobby Mobini

    Views: 0

  • Free Winning Mass Cash Tips

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    Massachusetts happens to be one of the most populated states in America despite of its size. Boston happens to be one of the most beautiful cities filled with rich history, culture, and considered as the ‘Cradle of Liberty.’ It is by far one of the homes of the biggest lotto players earning the name Mass Cash.

    Mass Cash is a 5/35 lotto game with a one hundred thousand-dollar jackpot. It may not be impressive for most, yet having a hundred grand can and will make anyone smile regardless. The probability in winning the cool hundred grand is 1 in 324,632, which can be translated as anyone’s game with a good chance of winning than even Powerball.

    As for tips, this odd-numbered game would require some careful planning and checking on past winning numbers. With a state that lives in history, it can be a great tool for winning the prize. Second and third place winners can pretty much get their money back.

    Starting with the odd-even tactic for Mass Cash would be a good choice to even the playing field of a 2/3, 3/2 combination. Checking on the past winning numbers (even dated as far back as 1955) can be a chore at times, yet the high probability of the numbers showing up again would be somewhere close to seventy percent.

    Using the High-Low combination on Mass Cash can be tricky at times yet still useful, regardless of which side the middlemost number should go would sometimes be the deciding factor on getting a proper combination. A quick way in doing so is to avoid integers, meaning anything that has a multiple of 35 (five and seven respectively). The general rule of thumb from experienced lotto players and probably even some mathematicians would always be to expect the expected, not the other way around.

    Group matches are another great way in determining a proper combination, basing it on a set group/s that a player has established. This is where history can tell, which number can be used as a replacement for a potential cold number. Beware, though, as what may be considered as a cold number might turn up, yet the chances of it ending the losing streak would be rare.

    Talking about history, a repeat hit may occur at more than fifty percent at the time. Mass Cash has one of the longest lists of winning numbers that would sometimes repeat itself. With regards to these numbers, sometimes a combination of using a group number would be like playing poker if needed to change some cards.

    Playing Mass Cash is a lotto game that would mean that everyone’s a winner. From getting some of the money back to getting the one hundred thousand is to know and have a right mindset once the player lines up to the betting booth. Mass Cash is an ideal way on being a thousand dollars richer, and if given some thought on how to use the money would be beneficial. Just because the jackpot is small doesn’t mean it’s useless.

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    Source by Chris S Malcolm

    Views: 0