course overview - terrifictrading.com€¦ · web viewthe key word is choosing. once you are...

MODULE TWOWinning More Customers

List of Contents

Participant Notes Page

Exercise – Highlights, low lights and spotlight 2

Equip your customers with rose tinted glasses 3

Exercise – Key customer types 4

Becoming the preferred destination for your customers 5

Writing ads that work 6

Print ads and brochures 7

Sharing nuggets of gold 10

Fish 11

Filling in the blanks 12

Designing the customer experience 13

From customer touchpoints to your cycle of service 14

Extract from the customer journey to the supermarket 15

The trivial versus the technical 16

Exercise – Critical non-essentials 17

Personal Action Sheet for Workshop Two 18

Preparation for 1 on 1 face-to-face coaching session 19

Update Your Fellow ParticipantsSpend no more than a minute explaining each

HighlightsOne or two of the best things that have happened since the March workshop

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Low LightsOne or two things as a business that could have been better

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SpotlightOne or two key things you want to take away from this session

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2018 Terrific Trading Pty Ltd 08 9312 1075 www.terrifictrading.com

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Equip your customers with rose tinted glasses

When you positively influence how people feel within themselves and about themselves they in turn are far more likely to view your individual business positively and to take this positive outlook with them as they engage in the local experience.

It’s as if you have supplied them with rose tinted glasses.

Can you think of an example rather like the ‘Marriage Saver Technique’ used by some caravan parks where you have designed the experience so that your customers view you through rose tinted glasses?

Exercise – Rose tinted glasses

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EXERCISE – Key Customer Types

In Workshop One you were asked to describe your 3 or 4 main visitor types and to list what matters most to them in terms of their experience with you.

Select one of these customer types and make some initial notes in response to the additional questions listed below. The purpose of this exercises is to get you started on delving deeply into each key customer type for your business.

Customer Type: _________________________________________

1. What do you know about this Customer Type that helps you relate to and understand their needs?

2. What don’t you know about this Customer Type that you would like to know?

3. How can you find this out?

4. What hurdles do you and your employees face in trying to effectively serve this Customer Type?

5. What devices does this Customer Type use?

6. Who else has this Customer Type?

7. What are this Customer Type’s unmet needs?


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Becoming the preferred destination for your customers

Everything we do in business should be aimed at getting us:

Noticed

Remembered

Trusted

Preferred

The purpose of our marketing and our design of the customer experience is to ensure that we are Noticed. If we are not first noticed then we can’t be Remembered.

And only then will we have an opportunity to be Trusted. Customers don’t trust the banks any more. They don’t trust big business. They believe that the sale price is the real price and the rest of the time we are ripping them off.

It is only when we are trusted that we have the opportunity to become the Preferred supplier of whatever it is that we sell. Then we can truly succeed.

What gets you noticed?

What makes you memorable?

What gets you trusted?


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Writing Ads That Work“When I write an advertisement I don’t want you to tell me that it is creative. I want you to find it so interesting that you will buy the product…”

Chris Newton, an internationally respected marketing specialist, uses this wonderful quote from advertising agency legend, David Ogilvy, to make the point that you don’t have to be creative to write an ad that sells.

He says that your ads may not win awards but then award winning ads don’t necessarily mean more dollars in the till.

Chris says there are four factors that make an ad work:

* the copy

* the graphics

* the offer

* the target market

And the great news is that the copy and the graphics are the least important of the four. So even if you aren’t ‘clever’ or ‘creative’, if you understand your customer’s ‘hot’ button and know who your customers are, you can still write ads that sell.

He points to research which shows that by changing the copy you can improve the results from your ad by up to 50%. A reasonable result but there are greater opportunities in the other areas.

By changing the graphics, perhaps making the ad more eye appealing with full colour instead of black and white, special photographic effects etc, you can improve your result by up to 150%.

If you play around with the offer you can get an improvement of up to 300%. In other words, can you add value? Can you make a stronger guarantee? Can you provide a bonus gift that is attractive to your customer?

However, by far the greatest potential lies with how accurately you identify and aim your message at your target market. By advertising in the right media for your market, with the right headline or impact statement to grab their attention, you can improve your results by up to 1,000 per cent.

Chris warns that being creative with your ads can be dangerous. Make it look eye appealing, make it look interesting, but not at the expense of selling.

You can check out Chris Newton’s website at www.resultscorporation.com.au


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Points to Ponder for Your Print Advertisements and Brochures

I am not an advertising specialist. But I do know a fair bit about the practicalities of selling and of communicating effectively with customers. And for more than 25 years I have listened to and studied the work of some of the world’s most respected marketing and advertising practitioners.

Here is a 3-page checklist covering questions that come up again and again in my workshops and seminars. I do hope the answers I’ve provided will be helpful to you. But please don’t follow any of these suggestions without first reading and acting on the points in the final sub-section.

Have you tested different headlines?In a print advertisement, the headline is ‘the ad’ for the ad’. This is what flags the reader down. Advertising specialists will tell you that 80% of the value of an advert is in the headline. If the headline doesn’t flag the reader down, it doesn’t matter how compelling your copy is, they won’t be attracted to read it.

The headline should aim to stop your target market in their tracks. Then your opening paragraph should get straight to the point and your sub-headings should be designed to keep your prospective customers scanning the page as they attempt to answer the WIIFM question, “What’s In It For Me?”

With a DL brochure – A4 size folded in three – the front of the brochure is the equivalent of a headline in a newspaper or magazine. You have to sell the benefit of them picking up and opening up your brochure. If the front panel is covered with your logo or generalised statements you have lost your opportunity and the brochure won’t get opened.

For example, brochures are often stacked in front of one another in perspex stands with only the top 25-30% of the front panel visible in the display unit. This is your selling space. You must get your message across in that top portion of your brochure. And while you love your logo and company name, unless these are instantly recognisable they should not appear in the top third of the front panel of your brochure. This is the place for your headline.

Have you used upper case for the body copy?Don’t. Upper case is useful for emphasis in headlines and to make INDIVIDUAL WORDS stand out. Too many words in upper case make the text harder to read.

Have you put large tracts of the body copy in bold?Don’t. As with upper case, bold is great for emphasis and works well for headings and sub-headings. It calls attention to itself as you would by standing in a crowded room and shouting. But if you keep on doing it you will put off the reader and lose effect. People don’t like to be continuously shouted at when you are giving them an explanation. If you shout too much your reader may choose to ignore you!


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Have you used a lot of reverse type?Graphic artists love reverse type. This is where the letters appear to be cut out of a coloured background. For example, white lettering on a blue background.

It makes great use of colour and will give full colour brochures and adverts in glossy magazines a really stylish look. It is fantastic on billboards where a few words appear in gigantic type. It also works well on websites, where the background is lit.

On brochures it is particularly effective for headlines and one or two line sections BUT if the type is less than 14 point it is far harder to read than normal type….especially for the over-40s. There is not much point in having a classy looking advert or brochure if your target market can’t read it.

My recommendation is don’t use reverse type for body copy unless you are aiming at an audience under-25 years of age. Even then keep it to 14-point type as a minimum.

Have you used a sans serif typeface?Sans serif is the clean, sharp looking type. Fonts such as Ariel, Helvetica and Verdana are sans serif. On the other hand, serif typefaces are the ones with little feet on them such as Times New Roman or Bookman.

Sans serif fonts seem to work well on websites and for emails that will be read on screen. The screen is lit from behind and they appear as clear, fresh and easy on the eye. Web design and web marketing specialists typically recommend a sans serif typeface as being more appealing and easier to read.

Studies indicate that sans serif fonts, with their clean lines, work well for headlines in print advertisements consistently outperforming adverts with the same headline in serif fonts.

For the content of your message, the body copy, direct marketing specialists who have tested various fonts and their effect on readability and comprehension generally recommend using a serif typeface, such as Times New Roman or Bookman, on printed materials. Sans serif fonts are said to cause greater eye fatigue and lower comprehension. The suggestion is that the little feet in the more traditional looking serif fonts make it easier for your eye to scan the words as it moves along the page.

Look at your main newspaper and your local newspaper. You will notice that they are in a serif font. The only exception is the advertorials where people who don’t know better have usually allowed they’re paid for material to appear in a sans serif font.

It’s the same with books. Publishing houses around the world, almost without exception, use a serif font. The occasional ones in a sans serif font tend to be from self-published authors. So, I’d suggest you play it safe. Stick with a serif font for the content of your print brochures and adverts and use a sans serif font for the headlines. With email newsletters and information on your website that may be printed out the decision is less straightforward.


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Do photographs work?As the saying goes, ‘A picture paints a thousand words’, which is great – provided that the words that spring to your reader’s mind fit with the message that you intended to put across by including the photo. That’s leaving it to chance.

Learn from the newspapers. You will see that they never include a photo without a one or two line caption underneath. Photograph captions are the most likely thing to be read after the headline. The picture attracts the eye, and raises the question ‘What’s this about?’ Then the eye drops to the caption to find out what it is about. This is your big chance. Spell it out for them simply and clearly.

Unless you have a montage of photos that clearly tell a story about what the reader can expect, make it a rule to include a caption of up to two sentences with every photo. This rule also applies for your website.

How about line drawings?Line drawings or sketches, with a caption, will help to illustrate a point. However, a number of tests have been done which show that the same advert when used with a photo will consistently outperform the equivalent advert done with a line drawing.

Have you printed over graphic patterns, faded logos or other visuals?Don’t do anything that could reduce the readability of your printed promotional piece. Young graphic designers, and the vast majority seem to be under-25, (but then even the policemen look young these days) love printing over images to create a classy, trendy effect. You will see it in most of the magazines aimed at a young market.

If that’s your target market, great, it may work for you. If not, definitely DO NOT do it. Why on earth would you want to make it more difficult for prospective customers to read and comprehend your sales message?

Should you follow these rules?In advertising there are guidelines that will stand you in good stead….most of the time. But occasionally by breaking the rules you will get a better result. The only way to find out is to constantly record and measure the results from every advert, every flyer, and every brochure.

The essential element is to be very clear about the target market for all your advertising and promotional activities. Then design your communication to flag down and entice this market.

Test every advert. Do an inexpensive small scale test before expending a large portion of your promotional budget. For example, if you are planning a full page advert in an expensive glossy magazine is there another low cost publication that you can test it out on first.

If you do not measure how many enquiries you have received from your ad, how many additional bookings have been obtained or how much extra product has been purchased from your business, then you have no idea of how well your advert has been working; or, in fact, if it has been working at all. So please, test first, measure the result and identify what works for you.


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Sharing nuggets of gold

How do you keep in touch with past customers to stimulate Word-of-Mouth?

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How do you keep in touch with past customers to get them to come back?

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Fish Exercise

PlayPlay is usually perceived as what happens when the boss isn’t around. Can you think of other organisations that incorporate ‘play’ into their daily activities?

Make The Customer’s DayWhat do you think is the difference between making someone’s day and being pleasant?

Be ThereHow do you act when you are ‘being there’?

Choose Your AttitudeChoosing your attitude is not about having a positive attitude. The key word is choosing. Once you are aware of your attitude you can decide to keep it, learn from it, or shape it into a new attitude.

Fish!What do they mean when they say, “It’s not about fish?”


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Filling in the blanksResearch in the field of neuroscience has shown that the objects we see are often not the same as the information that reaches our eyes. The brain makes adjustments and fills in gaps when it feels information is missing. You are probably familiar with the following text prepared by a researcher at the University of Cambridge:

"It deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteer be at the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe."

It says, “It doesn't matter in what order the letters in a word are, the only important thing is that the first and last letter be at the right place. The rest can be a total mess and you can still read it without problem. This is because the human mind does not read every letter by itself but the word as a whole.”

Beyond this, researchers from the University of Glasgow have shown that when parts of our vision are blocked, the brain steps in to fill in the blanks.

They conducted a series of experiments. These showed that our brains predict what cannot be seen by drawing on our previous experiences to build up a complete picture.

Their results demonstrate that our brain doesn’t rely solely on what our eyes see. Instead the brain constructs a complex prediction. It is as if it is completing an incredibly difficult jigsaw puzzle using any pieces it can get access to. These ‘pieces’ come from the context in which we see them, from our memories and from our other senses.

Apparently our brain is continuously anticipating what we will see, hear or feel next. If parts of an image are obstructed, our brain still predicts what is likely to be present behind the object. It anticipates what the whole object will look like. And all this happens in a nanosecond.

As experienced observers of the world, you and I think we are gleaning precise information. In fact, it’s a combination of partial information and best guesses. And our customers are no different!

Key Learning Point: Our customers’ previous experiences and expectations will influence what they see and how they judge us.

Sources: Cognition and Brain Science Unit, Cambridge University, UK Institute of Neuroscience and Psychology, Glasgow University


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Designing the Customer Experience

Think for a moment about the difference between a product and a service.

The end result of a service experience is a ‘feeling’. For example, when we get our car serviced we will react to the experience from making the booking through to picking up the vehicle afterwards, not just to what has been done to the car.

It is the customer’s reaction to the experience, rather than the product, which decides whether they will buy from you today or again in the future.

Jan Carlzon, former Chief Executive of Scandinavian Airlines, called these the Moments of Truth in an organisation. We describe them as the ‘touchpoints’.

A touchpoint in itself will not usually be the deciding factor on whether a customer has a positive or negative view of your organisation. It’s when a number of experiences in the sequence of touchpoints go wrong (some of which may have nothing to do with your role) that the customer will come to view your organisation favourably or unfavourably.

People who provide products and services tend to see the interaction with their customers as a series of discrete events that are not necessarily related to one another. This is not how their customers see it.

Every action, every inaction, every touchpoint within and around your organisation is communicating a message to your current and prospective customers and to people who may influence your current and prospective customers.

Invest at least as much attention and money in this as you do in your marketing and promotion. You can’t afford to leave the customer experience up to chance. Discuss it, design it and manage the processes.


A Touchpoint can be defined as any episode in which the customer comes into contact with an organisation and gets an impression of its service.

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From Customer Touchpoints to Your Cycle of Service

People will judge the service they receive at every point of contact with you. This means that each step in their experience influences whether they are impressed, will want to come back and if they will recommend you to others.

1. The first step in ensuring that customers always have a positive experience when dealing with your organisation is to identify all the customer touchpoints (i.e. every contact opportunity).

2. The next is to analyse and reach agreement on these touchpoints.

3. Now put them into sequence and map out the customer journey.

4. The fourth step is to identify and agree on the standards for each touchpoint as explained in Workshop One.

Which touchpoint do you do focus on first? Follow the MARS Principle and begin by giving attention to the key touchpoints that are likely to have the greatest influence on your customers.

Mapping the customer journey

Using the supermarket Cycle of Service as an example, document the touchpoints for your organisation.

Once you are agreed upon the touchpoints you can map out the cycle or cycles of service. Then work on individual touchpoints using the MARS Principle:

Minor AdjustmentsResultsSoar

Three points to ponder

1. Little problems can identify big opportunities.

2. A low cost adjustment can lead to a high impact result.

3. Just because nobody complains it doesn’t mean parachutes are perfect.


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Extract from Customer Journey for a Supermarket

Mapping the customer journey gives us an opportunity to create an end to end view of what customers are doing, thinking and feeling about us.

Below is an example focussing on one touchpoint from the supermarket cycle of service example used in Workshop One.

The customer journey or cycle of service is the mapped sequence of touchpoints.

Above the line is what the customer is thinking and feeling at the time of interaction with the touchpoint.

Below the line is what is happening ‘backstage’. There are the onstage actions that are visible to the customer. Then there are the all-important offstage activities. In other words, the things that go on behind the scenes out of sight of the customer to make sure that the experience is as it should be. In the example above this would involve the reordering process and the in-store system for noting that stock is low and replenishing the shelves.


Above the line

What is the customer thinking or feeling?

Customer Journey

Locate the item - Moved or out of stock?

Below the line

Reorder; Replenish shelves

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The Trivial versus the Technical

Sometimes business owners and their service providers can't believe how unfair their customers can be.

The typical comment is, "We get all the important things right. Our quality is excellent. We give them great value and then they complain about some insignificant thing that isn't to their liking.”

The often unsaid implication is that customers are stupid for judging organisations like ours on the trivial matters instead of the things that really count.

Why do our customers do this? And are you and I any different when we are customers?

As Jan Carlzon, former head of Scandinavian Airlines put it:

“Coffee stains on the flip tray suggest to the customer that we do not service our engines properly.”

It’s actually a complimentThe reality is that customers often do judge us on the trivial rather than the technical. And when they do, it is actually a compliment.

It means that they trust us to do the technical aspects of the job well. It means that we have come 95% of the way but that they will judge us on the final 5% – the comparatively trivial issues that seem to matter most to customers.

For example, the muddy footprints the plumber leaves on your carpet when he's been to fix a problem; the wait in the checkout queue; the difficulty in finding convenient parking and so many other seemingly ‘trivial’ things.

The good news is that if you can find out what these trivial things are, and identify ways to overcome them, then you will get a result that far exceeds the difference that this little extra effort takes.


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Critical Non-Essentials Exercise

Share examples of what your organisation does to identify and work on the ‘Critical Non-Essentials’ that can influence how your customers judge your organisation

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Make a note of interesting examples from others in your group

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Personal Action Sheet from Workshop Two2018 Terrific Trading Pty Ltd 08 9312 1075 www.terrifictrading.com

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Actions I intend to take

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The Next StepWith each intended action:

a) Note your reason for doing this.

b) Identify the likely result.

c) Set your time frame for doing this.

Now go back and pick out the 1 or 2 actions that you are going to give priority to.


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Preparation for one-on-one face-to-face coaching sessionThis is a two hour session which will include Jurek gathering information for a

Customer Experience Audit of your business

Date booked for session: ________________________Time booked: ____________

Potential points to explore:

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What information do you need to have available for Jurek?

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course overview - terrifictrading.com€¦ · web viewthe key word is choosing. once you are...

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