It doesn’t matter what industry you’re in, no doubt you’d like to have great clients. Wouldn’t we all? Which isn’t to say that any of my clients are not good clients – they are. In fact, most are great clients.
So what does it take to be a great client?
Before I address that, let me say that people I know have been known to fire clients.
Excuse me? Fire a client? Why would you do that?
A friend of mine ran a small business doing voiceovers. At one point several years ago one of his clients happened to be nearly half of his business, so he felt obligated to keep working with them because they brought in a significant amount of money. But the downside of that was that the client also brought the most headaches: late payments, lack of communication, downright verbal abuse at times.
Which made it hard to continue to do good work for them. One day he fired his client. “I can’t work with you anymore. Please find someone else. I quit.”
As you might imagine, the client was shocked. But had no choice. They were no longer a client.
Which freed up my friend, both timewise and having to deal with someone so bad. It didn’t take long to replace the business, either.
We should all have nothing but great clients, but I’m sure it’s no surprise that it doesn’t always work that way.
Here’s my shortlist of how to be a good client:
Good communication: this is the most important item of all. Be responsive to questions. Give clear answers. When you have to ask a question, make it as clear as possible. Respond in a timely manner. Whether discussing details of an exhibit design or working out upgrades to graphics or finalizing shipping, clear communication in both directions makes everyone much more satisfied with the final result.
Be aware of all deadlines: Understanding deadlines goes both ways. The exhibit house knows how long it takes to design, fabricate and ship an exhibit. They should clearly communicate that to the client how long items take, and give out reasonable deadlines for graphic submission, shipping dates and so on. The client should take responsibility to adhere to the deadlines and communicate to the exhibit house any challenges they face along the way.
No mutual mystification: back to communication. If a question doesn’t get asked it won’t get answered. This goes both ways. Share everything in detail.
Clearly Understood Expectations Regarding Money: When entering into an arrangement with an exhibit house, one item that should be understood from the beginning is how the project will be paid for. This starts with the exhibit house but must be reciprocated by the client. Most exhibit houses are flexible (we are) which means that whatever terms are worked out will be to the satisfaction of both parties. If a significant down payment is expected within a certain amount of time, that should be clearly communicated to the client. If that agreement is reached, the expectation is that it will be adhered to. Having to chase money is one of the worst parts of anyone’s job. As a service provider, you hate to be put in the position of doing that, and as a client, you hate to be reminded that it’s time to pay the invoice.
Sharing Good and Bad News: I once had a boss that told me, “I want to hear good news as soon as possible. I want to hear bad news sooner than that.” No matter what the bad news, let your exhibit house know immediately so they can respond. It could be anything (and anything can and does happen in the tradeshow world), but it can’t be dealt with until the bad news is passed along in detail. As exhibit house managers, we don’t like to get bad news, no matter who’s fault it is, but it would be worse to NOT get the bad news and have the client internalize it and hold a grudge. As for good news, if you had a great experience at a show and the exhibit (and anything else coordinated by your exhibit house) was a big part of your success, make sure you share that with them. In fact, you might offer to write a testimonial or make a referral.
Finally, Be Friendly: The best clients are those that become friends. Even if you don’t see them frequently, having a client that looks forward to seeing you, and vice versa, makes it all that much better. Talking about kids, sports, vacations and more helps build the relationship from a client/service provider to an actual friendship. And makes it harder to move elsewhere.
Being a great client goes hand in hand with a being a great exhibit house, working with an organization that understands your needs and not only meets but surpasses them.
Once you have that, it’s a lot easier to be a great client.
“Write a book!” they said, so I did. Two, in fact. Here’s the short version of how it unfolded.
As a kid I thought the best job ever was to be a Beatle. The second-best job would be a comic book artist. But the third-best job? Being an author. A novelist! Reading those great science fiction novels by Isaac Asimov, Philip K. Dick, Robert Heinlein, Arthur C. Clarke and others, I dreamed of creating a life in the stars (on paper). I tried my hand at a number of stories but was never satisfied. So with my love of music I gravitated to a job that was more fun: being a radio announcer.
After 26+ years of radio, I arrived in the tradeshow world. I wanted to do something to differentiate myself that involved my love of writing and creativity (which I never really gave up). Hence, I blogged. Quite a bit, in fact. This blog, the TradeshowGuy Blog, published its first article in November of 2008. Ten years!
Along the way I published a pretty popular e-book called “101 Rules of Tradeshow Marketing” which was downloaded over 5000 times (I obsessed about the stats back then – I don’t obsess on stats any more).
The First Book
But a real book? One that you could hold in your hand and give away or sell? That seemed like a big challenge. My thought was to write a book to use as a heavy business card that thudded when it hit someone’s desk. To differentiate myself from others. To be, well, an author!
In 2010 I started. And fizzled. Tried again a year or two later. That fizzled as well. Long-term focus on this goal was difficult with lots of distractions.
But in early 2015 I started again with renewed focus determination, and was not willing to take no for an answer. After about six months I came up with a first draft. I reached out to Mel White at Classic Exhibits, who has been very supportive of me and my business over the years. He offered to go over the manuscript and offer his comments. This was critical to keeping the project moving forward.
In the meantime, I’d been reviewing a number of self-publishing platforms and kept seeing and hearing about CreateSpace, which was by then an arm of Amazon. It seemed easy-peasy to be able to submit a manuscript in almost any shape and by choosing a specific package you could have yet another editor or two or three do their magic. CreateSpace also handles the registration of an ISBN number, and since they are owned by Amazon, the seamlessness of having your book appear on Amazon for sale as both a print-on-demand paperback or Kindle download. CreateSpace also wrote marketing copy based on your outline.
Based mostly on budget, I picked one of their mid-range packages which meant they would have two editors look at it. One would do “line editing,” which is where a professional editor helps “strengthen your manuscript’s content with one round of feedback and connections to structure, plot, characterization, dialogue, and tone from a reader’s point of view.” Then a copyeditor goes over the manuscript with a fine-tooth comb, picking it apart grammatically and with an eye to classic punctuation and editing standards: “includes an average of 10-15 typographical, spelling, and punctuation revisions per page that your readers will notice – but your word-processing software won’t.”
The whole process of editing was eye-opening, and a learning experience. I disagreed with a few of the suggestions made but kept most of what the pros advised. I figured the best thing was to humbly submit to the process and do what was necessary to make the manuscript better.
Something I really wanted in the book to break up the big blocks of text was a series of cute black and white line drawings that supported and enhances the “fun and educational” feel of the book I was going for. I looked first on Fiverr.com but didn’t find any style of drawing that I liked that much. Eventually I landed at Thumbtack.com, asked for some examples and ended up choosing an artist named Jesse Stark. His drawings were exactly what I had envisioned, and his price was reasonable and fair.
Now for the cover. Not being a graphic designer, but wanting to at least give it a try, I mocked up a handful of potential covers. I didn’t really like any of them (did I mention I’m not trained in graphic design?), and asked Jesse if he would be interested in doing a cover. He was, and after some discussion, came back with a mockup. I wasn’t crazy about it, and thought it needed a photo of a tradeshow floor that showed dozens of booths from a high vantage point. I finally tracked down a photo I had taken at Expo East in the early 2000s from that angle, and had him use that to complete the cover. (Side note: Jesse also designed the TradeshowGuy silhouette that I use in the company logo).
As you might imagine, the hardest thing to do when assembling all of the pieces of a book project is what to name the damn book? I rejected a handful, but only debated a few over the nearly year-long project:
Deconstructing Tradeshows: 14 Steps to Tradeshow Mastery
Create a KickA$$ Tradeshow Experience: 14 Steps to Tradeshow Success
The book made it to Amazon on late October 2015, and I officially launched it the next month with a video series, a flurry of press releases and some giveaways. My view on publishing a book, though, wasn’t to sell as many copies as I could. It was to have something that no other tradeshow project manager had: a book.
The book was mentioned in some local business publications, and I’ve showed it off at networking meetings (who else has their own book?!), but the most notable mention came when Exhibitor Magazine published a multi-page article on the book and me. As one LinkedIn colleague said, “It doesn’t get any better than that!” So true.
The Second Book
Time passes. After the initial excitement of having a book to promote and giveaway fades, thoughts turn to what to do as a follow-up. It’s been said that one of the best ways to sell and promote your first book is to write a second book. But what would that second book be when I felt I put all I knew into the first book. And I knew I wanted a second book to follow up the first one.
It took a while, but I came to settle on the idea of taking the dozens and dozens of list blog posts I’d written for the blog. It took some time assembling all of the posts – many covered similar topics and had to be combined and edited – but once that was accomplished, I reached out to Mel again for help.
This book didn’t write itself, but since the content had already been created it was a matter of grouping the lists into specific topics was the main task. And of course I wanted the same illustrator so I emailed Jesse to see if he was interested. He said yes, so we moved forward.
The second book, still untitled, was a lower budgeted affair. I enlisted Mel again, and he also had his English professor wife, Mary Christine Delea, go through it as well. Once their two edits were done, I uploaded to CreateSpace, agreed on the more modest single line edit requested before going to print.
Now…what to title the book of lists? I had a couple of lists that referenced zombies, and one that referenced superheroes, so I played around with them for awhile:
Quirky Interactive Activities, Exhibiting Zombies, and Tradeshow Superheroes: A By-The-Numbers Guide on How to Take Advantage of the Most Effective Marketing Vehicle the World Has Ever Seen (I think this won a record of some sort for longest proposed title!)
Exhibiting Zombies, Tradeshow Superheroes and Quirky In-Booth Activities:
A List Manual on How to Take Advantage of the Most Effective Marketing Vehicle the World Has Ever Seen
Exhibiting Zombies, Tradeshow Superheroes and Delighted Visitors:
Exhibiting Zombies, Tradeshow Superheroes and Elated Customers:
Exhibiting Zombies, Tradeshow Superheroes and Delighted Customers: etc…
For publicity, I did a little, including sending out copies of books to tradeshow publications and press releases to local business publications. I also spent a very modest amount of money on a Twitter book-promotion platform that promised tens of thousands of views of promotional tweets. Modest: less than a hundred bucks. Nothing came of it. Again, the point was to have another book to give to prospects to differentiate myself, and if a few copies sell, well, great!
Interestingly enough, sales have picked up in the past few months with no further promotion. Maybe having both books out there and easily found on Amazon is working!
If you have an idea for a book, should you self-publish, or should you pursue the traditional route through a publishing house? Both have their pros and cons, but to me having complete control over the look and feel of the books and getting a much higher royalty rate made sense for my approach. Yes, the distribution at this point is ONLY online, but to me that’s sufficient. I didn’t write to sell a trainload of books, I wrote to differentiate myself from other exhibit houses and project managers. And to that end, I feel I’ve succeeded.
Now my main thing is making sure that potential clients have a copy of one or both books. That, and thinking about what I might write for a third book in the next couple of years.
Yes, these are actual conversations with clients. No, they are not from surreptitious recordings, but rather, from memory, which is probably not as accurate as I’d like. But nonetheless, these are the types of things our exhibiting clients at TradeshowGuy Exhibits are asking about.
Client A:
“We need a 10×10 pop-up. Do you have a few options that you can show us with pricing?”
This is an easy one. I popped over to our Exhibit Design Search and assembled a gallery of about 15 10×20 exhibits, with a price range of about $1,500 to about $6,000.
A week goes by.
“Here’s one we want. We need it in three weeks. Can you send art specs?”
Can do in both cases. Let her know. She placed the order and it was delivered a week ahead of schedule.
Client B:
“We’re going to expand our exhibit for the upcoming Natural Products Expo. Where do we start?”
“Best thing is to schedule a conference call with our designer, so we can get your input and ask questions.” We did. The call was fruitful and resulted in a handful of revised renderings of their booth, which was being expanded from a 10×20 to a 10×30.
“One more thing. We don’t want to have to set up the booth this time, since we’re expanding. We’re kind of at our limit for doing that with the 10×20. Can you help?”
“Of course, let me get you some options and pricing for review.”
They settled on the redesign and makeover of the exhibit, signed on board to have an I&D company take care of the setup and dismantle, which we coordinated. The show went off without a hitch, the owners and investors were pleased; they came home with more leads than they had expected.
Client C:
“Our carpet didn’t show up,” I was told by the I&D leader from the show floor. Exactly. Why not. I was in another hall on the show floor, so I hustled over to see first hand what was happening. This started a long and twisting tale of a missing carpet that had actually been delivered to the advance warehouse but failed to make it to the booth space.
“I’ll speak with show services,” I said.
I let the client know. “We have an issue. The carpet didn’t show up and we’re working to find a solution.”
“Well, crap.” It was probably not the exact word. “What now?”
“We’re working on it. We’ll figure something out!”
With a little help from our I&D rep, we were able to make the show come off with very little problem, although the carpet in question still has not turned up months later, and a claim is pending. Things do go wrong sometimes, and it’s really nobody’s fault. Stuff happens. What’s important is how you deal with it. In my experience it is always a team effort to track down replacement items, make do with what you have or any number of other things to pull off a good experience at the show. You gotta have a good team, and you gotta work with pros.
One more. Client D.
“We would like pricing on changing out graphics for our booth for an upcoming show,” said the client. “I’ll send the specs,” he said, which arrived shortly in an email. The show was less than two months away, so while there was indeed time to make the changes, but with that timeline it meant that no time could be wasted.
Got the pricing, sent it over. “Looks good! I’ll get artwork soon!” Knowing that I’m working with a good client that has consistently worked to upgrade their exhibit, I start the process to create a new job number and add in the potential project to the job tally. A few days go by.
“Looks like this project is on hold for the time being,” he writes. “We’ll get to it for another show soon. Keep you posted.”
Ooops! Make the changes, remove the new job number, took a breath. Don’t count your chickens, etc. Hate to get ahead of yourself. Just want to make sure the client is happy.
This is all very typical, I’m sure, to anyone who works in the industry. Upgrades, expansions, challenges, decisions made and then changed. Part of the great game we call tradeshows.
What conversations have you had with your exhibit house lately?
Selling anything, whether in a clothing store, a car dealer showroom, or a tradeshow, means in some sense you have to understand your buyer. You must have empathy for what they’re going through or the sale will be much more difficult.
When you put yourself in the shoes of your potential buyer, you feel what they feel. You understand what they understand. You know what problems they are facing. You know what it would feel like to have a solution to the problem that your product or service would provide. You must know what makes them feel good, what makes them feel hurt.
Your marketing strategy should include efforts to understand those potential clients or customers. Ask yourself these questions:
Do you really understand how they feel prior to learning about your product or service?
What is the perspective of your customer in regard to your product or service?
How do your prospects view the world?
What challenges do they face?
How do they view companies such as yours?
There are other related questions that will come up, but the goal is to see the world from their perspective as best as you can. The more you’re able to do this – and the better you’re able to communicate that understanding back to them – the higher your chances of converting them from a prospect to a client.
A year ago, our new client Schmidt’s Naturals debuted a new custom 10×20 at the Natural Products Expo West. It was a custom exhibit designed by Classic Exhibits‘ designer Kim DiStefano. The design was submitted to Exhibitor Magazine’s annual Portable/Modular Awards, which honor design excellence in portable, modular and system exhibits. Here’s what it looked like on the floor of Expo West:
A couple of years ago, one of our clients, SoYoung, was a winner in the competition. We’re glad that Schmidt’s Naturals got the nomination and we wish them the best when the winners are announced in late winter at ExhibitorLIVE!
We’d like to invite you to see all of the entrants in the Exhibitor Portable/Modular Awards – take a look here and vote your favorite. And remember, you can vote once per day until the competition closes.
Well, these might not be actual tradeshow marketing secrets, simply because by its very definition, a secret is something that is not well known. The following items are fairly well known and no doubt you can easily find them online – but the question is: are you using them to their full capacity and capability?
First, let’s look at first impressions. Hey, you only get one chance! And as you know, in tradeshows, perception is everything. Make your first impression strong, and the second piece of the puzzle will fall into place a little easier.
Next, know that the image you put out at a tradeshow isn’t just a random piece of your brand – it’s your whole brand. It IS your brand. If you miss the mark here, your next puzzle piece just got harder.
Up next: your staff. You can have the sweetest exhibit at the show, but if your staff sucks, it will all go for naught. Which means that your staff should not only know what they’re doing and be presentable and friendly and good with people, they should be well-trained in the challenges of dealing with hundreds of people on the chaos of the tradeshow floor.
Now, be sure to have something for people to do when they arrive at your booth. It could be a product demo, an interactive tool, a video to watch, a virtual reality headset to wear – anything that engages them for more than 8.4 seconds.
Ninety percent of success is showing up. Of course, you say, you’ll show up. But do you really? Are you really there for the full show? Are you there ready to listen to a client’s complaints and respond? Are you there to jump in when there is a problem or challenge and not leave it for someone else? Be there. All the time. Not just when you’re on the clock.
Cross your T’s. Dot your i’s! Details are important. When you slip on an important detail, someone – perhaps a potential client – is bound to notice.
Yes, details are important, but so is keeping your eye on the bigger picture. Tradeshows are a powerful way to reach markets that you otherwise would not be able to access so easily and economically.
Really, it’s all in the follow-up. Yup, I was kidding back in that earlier paragraph where I said the key to tradeshow marketing success was to draw a crowd and then know what to do with them. You’ve got to have a good follow-up plan in place. And be sure the work the plan.
Finally, be flexible. Sometimes, you just gotta MacGuyver things and adjust to a changing landscape. Be willing to go with the flow and see where it leads, as long as your overall strategy doesn’t change.
“Does your tradeshow exhibit evoke emotion in the mind of a visitor?” might be a funny question. The better question might be: “HOW and WHAT emotion does your tradeshow exhibit bring out in your visitors’ hearts and minds?” But by asking it, you’re pulling on the string of branding, high-impact motivators such as confidence, sense of well-being, protecting the environment, being who you want to be and a litany of other emotions that pull in one direction or another.
Let’s use one of our clients at TradeshowGuy Exhibits, Bob’s Red Mill, as an example. Their foods are mean to inspire good eating with high-quality grains, oats, cereals, mixes and more. Good eating equals longer life and better health. Better health equals a positive feeling. Hence, just seeing the Bob’s Red Mill exhibit can evoke an emotion that gives people familiar with the brand a sense of well-being and comfort. All without them even thinking about it. As long as the visitor has a familiarity with the brand and products, their brain will make a quick connection with a positive result.
Let’s try another brand, say, United Airlines. With the recent debacle of having a booked passenger dragged off the airplane with smartphone video cameras in action that spread quickly throughout social media and mainstream news outlets, many visitors to a tradeshow with a United Airlines exhibit might have a different feeling today than they did just a month prior.
According to Alan Zorfas and Daniel Leemon, writing in the Harvard Business Review, “On a lifetime value basis, emotionally connected customers are more than twice as valuable as highly satisfied customers.” Gaining that emotional connection pays off in numerous ways as they buy more, visit you online or in your store more, are less concerned about price in favor of quality, and listen more to what you’re saying, whether on a TV or radio ad, in a magazine, or in a weekly newsletter.
When it comes to evoking that positive emotion when visitors at a tradeshow come upon your booth, your branding and costumer experience already has to be in place, at least to a certain degree. A visitor that’s familiar with your brand and has a positive feeling upon seeing your exhibit has internalized that – but beyond that, she recognizes the key elements of the brand successfully executed in the design and fabrication, down to the small details.
A visitor that’s not familiar with your brand will still experience a gut feeling upon seeing your booth. The accuracy of that evocation has everything to do with how skillfully your 3D exhibit designer and your graphic designer have understood and communicated the elements of your brand. Once they inhale that look, as it were, they’ll make a decision on whether to more closely check out your products or services. If all is done right, your visitor will get an accurate emotion of the brand that you’re hoping to disseminate.
This is all not precise, of course. You can’t just plug in a color or texture or design or graphic and provoke a predictable reaction. Even ugly and unplanned exhibits can still have a successful tradeshow experience, which may be due to other factors, such as the competition, the specific product, the enthusiasm and charisma of a particular booth staffer or some other unknown element.
But the better your exhibit reflects your true brand, the more powerful it becomes in the heart and soul of your visitor. And they’ll take that home with them.
Huh? Don’t sell at the tradeshow? Isn’t that why you’re there – to take names and kick ass? Sure, you won’t get an argument from me.
However, let’s take a look at the tradeshow situation. The event is designed to bring hundreds or thousands of people by your booth. If your intent is to sell – and just sell products at the event – then you’re going to spend more time with each person. It takes time to write up an order, and depending on your product or service, it probably takes time to determine exactly what that service or product is. How long is the service going to last? What version of your product is best for your client? When do they want it? What is their goal in using your product or service and can it really help them?
Sure, if you’re just selling single pack food items or something that can be sold in just a few seconds, they go ahead – sell, sell, sell!
Most products take longer. Even if you’re ultimately selling a single food product, you may be trying to get into more stores, or hook up with distributors. Which means you’re not actually selling at the show.
You’re just qualifying.
And once you qualify, you both then agree on the next step.
Tradeshow Sales Trainer Andy Saks of Spark Presentations spent 30 minutes with me this week to discuss engagement at tradeshows. We called the webinar “Make Yourself Memorable: How to Attract and Qualify Tradeshow Attendees.” Andy is great at showing how important it is (and offers a handful of tips) to properly engage folks at tradeshows so you don’t miss out on opportunities.
It doesn’t matter what size your company is. It doesn’t matter how big your tradeshow booth is compared to your neighbor or competitor at the big tradeshow.
There will always be a company that is bigger than you. There will always be a competitor that is smaller than you, and probably nipping your heels.
There’s a sports analogy here somewhere, let’s see if, by fishing for it, I can find it.
We can’t concern ourselves with the other team. We have to play our game to the best of our ability. – a coach somewhere
I’m sure that applies in business as well. You should be aware of your competition, certainly, but more importantly, take care of all business needs in-house. That’s the paramount need to succeed.
So when it comes to tradeshows, you’ll always be somewhere in the middle. Others will be bigger, richer, have wider distribution, more products and more staff. There will be competitors who are smaller, with fewer resources, have less distribution than you and fewer products available.
The biggest competitor – and the biggest cheerleader – will always be yourself.
