Music Trade Review

Issue: 1917 Vol. 64 N. 15

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
SALESMANSHIP
A Complete Section Devoted to Piano Salesmanship Published Each Month
How Long Should a Prospect Be Considered "Live"?
The Experience of Most Piano Salesmen Proves That if Results Are Not Shown
Within a Certain Time, Further Efforts to Sell a Delinquent Prospect Prove Fruitless
time ago the Hallet & Davis Piano Co., in their bright
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little paper, "Chords and Discords," had some interesting and
pertinent things to say about prospects. The question at issue
was as to the length of time a prospect card should be considered
"live." In substance, the conclusion arrived at was that very
many prospects are being carried on their lists by salesmen,
which are no more or less than an actual weakness thereto, by
reason of being really "dead."
Now the difference between a live and a dead prospect is,
of course, the simple difference between the existence or the
non-existence of a chance to sell. Theoretically, of course, and
in the absolute sense, it may be argued that so long as a person
has not bought an instrument from our competitor or from our-
selves, that person is still a prospect. But the practical side of
the question is less accommodating. Practically speaking, it
seems to be a true and tried maxim that no single prospect is
worth more than a certain amount of time. When that amount
of time has been given, systematically and after the method of
good salesmanship, the prospect should have responded; or
should be considered dead.
The statement last made sounds radical, if not wild; but there
is a growing school of expert sales managers who have come
around to the view here expressed; namely, that less time should
be given to the cultivation of old prospects and more time to
hunting up new ones.
If a prospective customer does not buy at the first interview
and cannot be convinced by the ordinary visit to the store, the
salesman should certainly nevertheless call again and perhaps
twice again. But, after so many calls, any good salesman will
have found out for himself one of two things. He will have
found that the customer was only "shopping" in the first place,
or he will find that some real reason for not buying exists.
As a matter of fact, there always are a certain number of
people who begin the preliminaries to a purchase and then shy
off; and such persons are the hardest of any to close up ulti-
mately.
Apart from this, however, it is a fact within the experience
of every good salesman that prospects, unlike wine, do not im-
prove with age. Of course, almost every one of us has had the
experience of the prospect who showed up two years later, and
proceeded to buy, remarking that he had never forgotten our
courtesy the first time, etc., etc.; and most of us have had the
experience of selling finally to some one, after whom, for some
reason, we had unsuccessfully run for just as long. But all these
are really extremely unusual cases; and to keep one's card
drawer filled with old dead names on any such account is not
good business.
The important point is that we have only just about so much
time to spend and our biggest problem is how best to lay out
our expenditure of that time. When a prospect comes in of his or
her own accord, then the salesman who knows his business may
rightly regard that prospect as not only live but certain; unless
impossible conditions immediately develop. But when a pros-
pect is dug up from the outside and promises to come in some
time or other, then it is dollars to doughnuts that if that party
does not come in as promised after a little further argument or
persuasion, the prospect is dead; and should be decently interred
without further delay.
There is still another point. Every hour spent in writing
letters to, or making calls on, old prospects is an hour that might
have been given to developing new ones. The outside salesmen
who call on the persons whose names have been secured know
well that if they cannot make the sale within a few weeks, the
chances are slim of ever making it; and grow slimmer with each
month. It is actually more profitable to canvass from door to
door than to spend one's time running around with a bunch of
old prospect cards. For when the old prospect has neither left
town nor bought a piano, the chances are pretty slim that any
interest or ginger can be infused into him or her.
Some of the best sales managers in the country are now put-
ting a time limit on prospects. Every name that is more than
ninety days old and has not yet shown signs of immediate action
is relegated to the discard. Where a prospect hangs fire for
definite reasons that can be understood and that have some real
business meaning, the card may be retained; but where three
months have elapsed without producing anything more than
desultory conversation, the funeral is performed quickly and
quietly, and without flowers.
It is a well-known fact that the greater part of the piano
business is done in sales to prospects who have been dug up by
the outside men and who did not come into the wareroom of
their own accord at all. Such prospects the outside man will
not trouble much about, when once he finds himself unable to
land them at the first store demonstration. If the prospect is
one which deliberately is set aside for a time, for reasons that
appear good to the salesman, then the prospect may remain alive;
but not otherwise.
The writer has been in retail stores where the prospect
drawer seemed altogether to be too much of a fetish. It is well
to have system; in fact it is necessary. We cannot run a busi-
ness successfully on guess-work. We must know how to con-
centrate our selling efforts and so we must have some kind of
system for finding prospects as well as a system for selling them
if possible. But that is one thing; and the notion that every
name on a prospect card is going to bring us in a nice little
commission "some day" is a notion that spoils many a good
salesman.
It takes courage to scrap a lot of nice-looking names, just
as it takes courage to scrap a nice-looking lot of machinery that
nevertheless is out-of-date. The reason in each case is the same,
however. It is that whatever produces friction and clogs the
wheels of business must be got rid of, and that quickly, if the
business machine is to travel smoothly and efficiently along the
road of commercial success.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
( Salesmanship )
12
THE MUSIC TRADE REVIEW
Adaptability a Most Valuable Asset in Piano Selling
Each Prospect Must Be Handled Differently, and the Piano Salesman Should Always
Adapt His Selling Methods to Suit the Individual Characteristics of His Customer
HILE the selling of pianos is by no means to be classed as
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the easiest occupation in the world, still the piano sales-
man has certain advantages which are not enjoyed by salesmen
in other lines. Book salesmen, life insurance salesmen, real
estate salesmen, and others of like ilk work almost entirely among
negative prospects—that is, their prospective customers usually
have little or no original interest in the particular proposition
which the salesman is presenting, and the salesman is forced
to create a desire on the part of the prospect before he can really
begin his selling campaign.
The piano salesman is not handicapped in this fashion in a
majority of cases, for the average man who enters a piano store
and asks to be shown the line of instruments carried there
already has the desire for a piano, and the salesman's work con-
sists in changing that general desire for some piano to a spe-
cific desire for one piano.
The problem, therefore, that confronts the piano salesman
is to get his prospect to know the facts about the line he is
handling, and to feel favorably towards that line. It is very
elemental, yet nevertheless absolutely true, that every selling
appeal, be it for pianos or prunes, must be based on one or on
a combination of the five human senses: viz., seeing, hearing,
feeling, smelling and tasting. This is the basic fact upon which
all psychology in salesmanship is founded.
The piano salesman must make his appeal through three
of the five senses—those of sight, hearing and touch. He,
therefore, must make his first attempt to instil a favorable im-
pression in the mind of the prospect by appealing to the eye,
showing the piano and pointing out its visible points of excel-
lence. He next must make an appeal by letting the prospect
hear the piano, and finally, by seating the prospect at the piano,
he makes his last appeal through the sense of touch. Every
good piano salesman follows this principle of using the cus-
tomer's senses as avenues through which to make his selling ap-
peal.
The foregoing statements may appear to be so rudimentary
that they are hardly worthy of the space given to their delinea-
tion, yet the piano salesman must understand them thoroughly,
and realize their full value, before he can properly understand
the second great principle in psychological selling, which is
that the rate at which nerve currents enter the brain and form
impressions is not the same in all people, nor is it the same for
each person at different times. The piano salesman must realize
that if he presents ideas about his goods faster than his pros-
pect can take care of them, he will not be understood and will
lose the prospect's interest. Again, the salesman must not present
ideas too slowly, or the prospect's mind will run away from the
subject of pianos and grow interested in something else.
When the nerve currents enter the brain from the eye, the
ear or the fingers, they travel with a considerable rate of speed,
although this speed varies greatly among individuals. When
the current comes to its appropriate place in the brain, it strikes
a blow in its particular brain cell. These blows, or impressions,
can be made deeper in either of two ways—by putting more
force in the nerve current that causes the blow, or by repetition
or concentrating the mind with all its power on the one incoming
idea. One other thing is necessary, and that is plenty of path-
ways or connections to the mark or indentation in the brain that
represents the idea to be recalled.
Every idea that enters a prospect's mind is accompanied
by some feeling, either good or bad, pleasant or unpleasant,
satisfactory or unsatisfactory. The mind never accepts an idea
in a neutral way. Every impression that the prospect receives
concerning the salesman, his goods, his store and its equipment,
either helps or hinders in making sales because of this fact.
Every idea that enters the prospect's mind not only leaves
an impression of some kind, but the nature of this impression
will invariably be indicated in some manner, not only by the
prospect's speech, but also by such things as a brightening or
clouding of the eyes, smiles, frowns, actions of the body, move-
ments of the hands and of the face and head. The piano sales-
man who thoroughly understands this fact will find his work
greatly facilitated, for he will watch his prospect closely to
ascertain whether his selling talk is based on the right premises
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