order
asking for
response to no
organization
asking executives about
quality of
paperwork
partnership
past, gaining information about
peace of mind, as implicit need
performance pressures
persistence, in prospecting
personal impact
postal mail
present, questions about
presentation
brief contact with attendees
checking opinions during
preparation for
questions
problems
comparison questions and
customer explanation of
customers’ recognition of
diagnosing
questions to uncover
solving
solving, past and
projects, questions for working through
prospecting
persistence in
qualifying process
reasons for
qualifying questions
for calling back
quality, of network
questions
about questions
costing business
to enlarge need
good and bad
hierarchy
plan for better
reasons for
scenario to sharpen skills
types
rapport
receptionists, as gatekeepers
recognition, as implicit need
referral questions
referrals
approaching
preparing to ask for
reasons to ask for
social media for
who to ask
rejection
cold call and
fear of
relationship-building questions
relationships
building new
developing
evaluating established
importance of
and new business opportunities
questions to improve
in social media
with vendors
warm-up questions
response to proposal, waiting for
response to questions
“call back later”
email information
“I need to talk it over with . . .”
for qualifying questions
“you should talk with”
rhetorical questions
risk, minimizing for customer
Rutigliano, Tony, Discover Your Sales Strengths
sales call
asking to proceed
with doctor’s committee
with head nurse
with hospital president
incorporating tools in
information gathering and research
with manager in accounting
preparation for
questions for first
suggestions
sales managers
sales professionals
as experts
intervention
pushing customers
scale industry
secretaries, as gatekeepers
security, as implicit need
self-serving questions
selling yourself
“should” stage of client
silence
simplicity, as implicit need
Smith, Benson
Discover Your Sales Strengths
social media
asking for introduction
connections on
educational questions in
to increase visibility and credibility
for referrals
relationships in
rules
stimulation, as implicit need
stories
strategy, C-suite and
subject lines
substantive relationships
success
as implicit need
superficial relationships
technological advances
templates
for educational questions
for email
for voice mail
time
avoiding wasted
BANT and
for cold calls
for commitment
comparison questions and
for decisionmaking
for return phone call
for upsell or cross-sell
travel, committing to
trends, questions about
trick questions
trust
creating
truth, questions for seeking
upselling
asking for
definition
groundwork for
questions
urgency
of need
of problem solving
value opening statement
value-building questions, in cold call
vendors
comparison questions and
questions to disrupt existing relationships
visibility, social media to increase
vision questions
for customer seeking security
examples
voice mail
educational questions
strategy
templates
“want to” stage of client
warm-up questions
why, as question
yourself, selling
About the Author
PAUL CHERRY is founder and president of Performance Based Results, an international sales training organization. An in-demand speaker and sales expert, he has been featured in Investor’s Business Daily, Selling Power, Inc., Kiplinger’s, and other leading publications.
Sample chapter from
Sell with a Story by Paul Smith
“Sell with a Story is a rich compilation of story techniques that can improve any persuasion process.” –Forbes.com
In Sell with a Story, storytelling expert Paul Smith helps salespeople add this potent tool to their toolkit, and get dramatically better results. Based on interviews with sales and procurement professionals at more than 50 top companies including Microsoft, Costco, Xerox, Abercrombie & Fitch, and Hewlett Packard, Sell with a Story explains how stories work, when to use a story to move the sales process along, which ones to always have handy, and how to turn real-life experiences into stories that resonate.
Read a sample of this inspiring book now.
1
WHAT IS A SALES STORY?
IT’S 9 O’CLOCK on Monday morning, three days before a big sales call with a new prospect. The entire team is assembled in a conference room ready to start planning the sales pitch. At 9:02, the sales VP walks in the room and calls the meeting to order with a clap of her hands. She remains standing, puts her hands down on the conference table, leans out over the surface, and says, “Okay, people, what’s our story?”
Do you think she’s asking for an actual story in the traditional sense? Almost certainly not. She’s probably asking for the logical series of facts and arguments and data the team should lay out for the prospect, probably in a PowerPoint presentation, that will have the greatest odds of leading to a sale. That would certainly be a reasonable request. But it’s not something anyone would have called a story 10 years ago. It would have been called a message track, or talking points, or presentation slides, or simply a sales pitch.
In the business world, it’s become popular in many circles to consider just about any meaningful series of words a story. Our strategy document is a story . . . the mission statement is a story . . . our co-marketing programs are stories . . . our brand logo is a story . . . and so on.
If using the word story for all those purposes helps people find or create more meaning in their work, then that’s obviously a good thing. But for the purposes o
f this book, these are not stories. Not every set of words that has meaning is a story, just like not all collections of words constitute poetry. A story is something special.
So, how can you distinguish a story from other narratives that are not stories? We need some practical tips to recognize a story.
The most sensible attempt I’ve seen to do this is by business storytelling consultant Shawn Callahan. He even created a 10-story quiz at www.thestorytest.com to help people practice identifying general business stories from nonstories. I encourage you to try the quiz yourself.
SIX ATTRIBUTES OF A STORY
Inspired by Callahan’s work, here are my top attributes that distinguish a story from all other forms of narrative. Stories, as I will discuss them in this book, typically have the following six identifiable features, listed in the order you’re likely to encounter them in a narrative: (1) a time, (2) a place, (3) a main character, (4) an obstacle, (5) a goal, and (6) events. When you find these features in a narrative, it’s a good indication that what you’re experiencing is a story. It might not be a good story, but it’s a story. We’ll get to what makes stories good or even great later in the book. But for now, let’s just figure out how to recognize a story when we come across one. Stories generally have:
1. A time indicator. Words like “Back in 2012” or “Last month” or “The last time I was on vacation” are all indications of when something happened. And since in a story something has to happen, these time indicators are a clue that something is about to happen.
2. A place indicator. A story sometimes starts with words like “I was at the airport in Boston” or “It all started in the cafeteria at our office” or “On my way home.” Again, since stories relay events, those events have to happen somewhere. Try telling a story about something specific that happened to you without mentioning where it happened. It’s not impossible, but it feels awkward, which is why most stories have a place indicator.
3. A main character. This should be obvious, but as discussed above, much of what passes for “a story” these days are things like mission statements or talking points that have no characters at all. For a narrative to be a story, there has to be at least one character, and usually more. In the context of sales stories, the character is almost always a person, but it could be an animal, a company, or even a brand.
4. An obstacle. This is the villain in the story. It’s usually a person, but it doesn’t have to be. It could be a company that’s your main competitor, the disease you’re designing medicine to combat, or the faulty copy machine you finally got your revenge on.
5. A goal. The main character in a story must have an understood goal, particularly one that’s worthy or noble in the eyes of the audience. Don’t confuse your goal in telling a sales story with the goal of the main character in the story. Your goal in telling the story may be to close the sale. But the goal of the pigs in the Pig Island story, for example, was to find food to survive. It’s hard to get much more worthy than that.
6. Events. If there was a single most important identifier that a story is happening, this would be it. For a story to be a story, something has to happen. Statements about your product’s amazing capabilities or your service commitment, or testimonials about how awesome your company is, are generally not stories because they don’t relay events. Nothing happens in them. They’re just someone’s opinion about something. If nothing happens, it’s not a story. Those kinds of narratives can be very compelling and effective and are an essential part of any salesperson’s tool kit. They just aren’t stories.
SALES STORY TEST
Let’s give these criteria a test drive and see how they work. Similar to Shawn Callahan’s story test, below are four narratives that may or may not be rightly called a story, but specifically in a sales context. Your job is to decide which are and which are not stories, and why. We’ll score your answers after the narratives.
Narrative #1: Are your teeth stained or yellow? Are you embarrassed to smile at parties or in pictures or videos, especially next to your friends with movie-star smiles? Have you tried teeth whitening systems but given up after a few days because they made your teeth too sensitive? If so, Ultra-White is right for you. It’s the revolutionary new teeth whitening system designed by Hollywood dentists to give you star-quality whiteness without all the pain and discomfort. Ultra-White involves a two-step process that alternates applications between a high-impact whitening paste and a desensitization gel. The result is sparkling white teeth without any discomfort that would keep you from showing off your new Hollywood smile.
Narrative #2: A couple of years ago, Dave Neild, the network service leader at the University of Leeds in the UK, realized he had a problem. He was getting cease and desist orders and copyright violation notices from all over the world as a result of students using file-sharing services like BitTorrent. In addition, many of the students were showing up in his office with computers infected by viruses. It took his staff up to an hour to clean up each one. Dave agreed to do a test with Hewlett-Packard’s TippingPoint network security device to see if that could help. When the test was over, he told us, “As soon as we installed TippingPoint, we instantly stopped receiving copyright notices. That protected our students from getting threatened by lawyers, and it protected the reputation of the university.” The university also got about 30 percent of its lost bandwidth back from the reduction in file sharing.1
Narrative #3: You should be using your shoppers’ planned purchases of toothpaste to sell more toothbrushes. Currently, shoppers buy toothbrushes only about every six months, despite the fact that dentists suggest replacing a toothbrush every three months. But your shoppers are already in your Oral Care aisle every two months to buy toothpaste. If you co-merchandised toothbrushes with toothpastes, you could close more of your shoppers with toothbrushes. And toothbrushes help sweeten the profits for you as a retailer. The average toothpaste category profit margin is only X percent, but the profit margin on toothbrushes is usually double that. And your own sales data show a dramatic increase in toothbrush sales when merchandised with toothpaste. Our February co-merchandising event delivered a 22 percent sales increase on toothbrushes over three weeks. That was $YY million in incremental sales. This was by far the best toothbrush sales month of the year. Even bigger than Christmas!2
Narrative #4: I had just spent way too much money on my new road bike, which was white with bright orange highlights all over it. I unloaded it off my truck last week and was standing at the elevator doors of my loft. As the doors opened, I saw a girl from my building already standing inside. I’d been wanting to meet her for some time. She gave a friendly smile as I entered. I see this girl all the time and she runs and bikes constantly, so I knew she was going to comment on the new bike. I was just waiting for her to speak up. She kept looking my direction, clearly about to say something. When she finally opened her mouth, she said, “Is that a wood watch?” I had totally forgotten I was wearing my Sully Green Sandalwood watch from Jord that day. “It’s really cool,” she said. At that moment, the elevator stopped on her floor and she got out. Didn’t even notice the bike. Might as well have been invisible. That watch gets so many comments, it’s crazy. Thanks, Jord!
Okay, let’s see how you did.
First off, admittedly none of these are earth-shatteringly great stories. But some of them are stories, and some of them are not.
Narrative #1 (Ultra-White): Not a story—Let’s walk through all six criteria. There is no time and no place mentioned. There’s also not a clear main character, although “you” is mentioned several times. There does appear to be a main obstacle (yellow teeth and the discomfort of most teeth whitening systems). And there is clearly a goal (whiter teeth). Finally, and most tellingly, there aren’t any events that occur in the narrative. Nothing happens. Net, this narrative contains only two or three of the six criteria. It might make for a good advertisement. But it’s not a story.
Narrative #2 (TippingPoint): Story—There is a time (tw
o years ago), a place (University of Leeds), a main character (Dave Neild), an obstacle (cease and desist orders), a goal (stopping the orders), and events (students sharing files and the university running the TippingPoint test). This has all the indicators of a story.
Narrative #3 (Oral Care): Not a story—This one is tricky. It’s exactly the kind of narrative professional salespeople use all the time, and they might easily refer to it as a story. But let’s look at the criteria. There are time references to February and Christmas, but most of the text doesn’t involve those times. There is no place mentioned. It’s confusing who the main character is. Sometimes it appears to be “you,” and sometimes it appears to be the shopper. It goes back and forth. The obstacle appears to be the current merchandising practices, and the goal is clearly to sell more toothbrushes. But the events are a hodgepodge of things the shopper does, things the buyer did, and things the buyer and seller did together. This one meets two of the six criteria well, and it’s muddled at best on the other four. This narrative is best described as a persuasive sales pitch, and it’s a pretty good one at that. But it’s really not a story.
Narrative #4 (wood watches): Story—This is perhaps the easiest narrative to identify as a story. It’s a narrative about something that happened to somebody. Even a 10-year-old would recognize this as a story. It has a time (last week), a place (the elevator in the loft), a main character (the unnamed author), an obstacle (difficulty meeting the woman in the elevator), a goal (to finally meet the woman in the elevator), and events (all the activity and conversation on the elevator).
So, now we know what a story is and how to recognize it. That was the hard part. Now for the easy part. What’s a sales story?
A sales story is any story that’s used in the process of earning a sale and maintaining a customer. That’s it. As you’ll see in Part I, stories can be used in any phase of the sales process, from stories you tell yourself prior to the sales call, to building rapport with the buyer, to the sales pitch itself, to negotiating price, to closing the sale, and even after the sale to manage the customer relationship. For our purposes in this book, all of these are sales stories. You’ll see examples of and learn how to develop all of them.
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