4 Steps to Setting the Value of Your Services (Part 1 of 3)

BusNotesPt1

My Denver omelet was tastier than normal and I wondered what happened in the kitchen that made it more flavorful. Its value went up and the menu’s price tag no longer mattered. I took another mouth-watering bite and looked across the table at the CEO of a small marketing firm that I was coaching.

I suddenly saw a connection, as she struggled to accept the value of her newest service offerings. The streamlined approach simplified her workload, which compelled her to reduce prices that were already under valued. She was basing the asking price on her ability to streamline her work efforts rather than on the service’s value to the customer.

Many small firm executives struggle with the perception that unless it involves a melee of sorts, the service or product must be priced lower to justify its value. Truth be told, in today’s market the client’s outcome determines the services value.

Executives can learn to position their services based on the value of the recipient’s outcome by following the below 4 Steps.

1. Value Your Clients Success

Last year I coached a small business owner whose declining revenue numbers suggested his doors would close within 6-12 months. I was asked to increase the store’s sales in whatever manner might work. While my strategy was foreign to the team, I was fully supported and given an expense account to implement my action plans.

Within 6-8 months the measureable results had increased the revenue percentage by double digits and brought in about 130 new customers. Each customer spent an average of $1,000 per visit—a 100% increase over the national average order size benchmark. The elated owner said, “You’re worth ten times what I’m paying you!” I suddenly realized that my value was in the end result, not in how much I struggle or sweat.

By placing a focused value on the outcome, clients are willing to pay for those results. Most will not care how much it costs, if it’s a small percentage of the revenue it generates. Everyone likes a project to pay for itself and then some. The happy client is always the one who gets the results they asked for, not the one who saved money and is forced to close down.

2. Value Your Ingenuity of Development

One business I coached never front loaded any lessons learned or ramp up time when starting a new project. The owner felt that his customers shouldn’t have to pay for his education, especially if it is required on their project.

I asked him what his greatest value was that drew his customers. He pointed out that they come to him because of his expertise. It didn’t take long for him to realize that his learning curve on the current project would soon be a part of his expertise and of great value to his customer.

I suggested his ingenuity, education and development time, which are his greatest assets, should be included within his pricing. After fidgeting a bit, he agreed to charge 50% of the learning costs since the customer would gain from his new knowledge.

Companies are willing to hire someone who can figure things out quickly to get them up to speed in new market areas. Whenever someone comes along with similar, but not exact experience, they are snapped up for the sake of speed to market. The cost is never the issue; the only concern is productivity and timeliness of release. So all ingenuity during the development stage is of great value whether learned on the job or outside of it.

End of part 1 of 3. Part 2 covers steps 3 & 4 with part 3 providing sample pricing.

© 2017 by CJ Powers

Cruising the Severn River in Maryland

OspreyPostMagic happens whenever I’m cruising on water in new places. This morning I launched from historic Annapolis Harbor, located next to the U.S. Naval Academy. The ship’s captain was friendly and took time to point out several noteworthy sights.

There was a post in the water of historic significance. It marks the very place where, after returning from victory, General George Washington’s boat was grounded on a sandbar and he waited until the morning tide came in to get home.

Today, that post is home to fish eagles, better known as Osprey.

Osprey

The heritage of Annapolis, MD is rich with Navy stories going back to the Revolutionary War. Commodore John Barry first went to sea from his homeland of Ireland at age 9. During the Revolution, on March 14, 1776, he accepted a captain’s commission in the Continental Navy under General George Washington.

CJatSeaA month later he won one of the first battles at sea when he captured the English tender Edward. He had captured 20 ships by the end of the war, the contents of which were sold for $3 million at auction for the Continental Congress. Soon after, Barry became the first commissioned to the United States Navy.

Barry then trained the first officers of the United States Navy including heroes of the War of 1812. He also directed the construction of the first frigate: USS United States. Barry was the uniformed head of the Navy under Washington, Adams and Jefferson.

With this newly gained knowledge, we cruised past the U.S. Naval Academy and watched several sailboats and patrol crafts maneuver the river and bay areas. Training on one boat included “man overboard” techniques with several drenched officers.

SailboatWe later headed toward Chesapeake Bay and enjoyed a little sightseeing of civilian sailboats. But we couldn’t get away from the area’s rich history as the captain pointed out the steak house with a wooden domed roof. In its earlier life, the building housed congress for several months before moving to Washington D.C..

My time on the water was fantastic and I couldn’t help but wonder if I’d return to the area to make a movie about the first person commissioned in the United States Navy, Commodore John Barry. He was a man known for his Christian piety, outstanding work in freeing our country from England, and training some of the greatest heroes our country ever placed on the seas.

© 2017 by CJ Powers

 

7 Common Mistakes of New Filmmakers

Shaky Camera TechniqueI’ve spent time with three filmmakers over the past two years coaching them on their freshman projects. They all had very different working attitudes, but they all made the same mistakes that are common among first time filmmakers.

Here are the 7 Common mistakes consistently made by newbies:

1. Lack of Preparation.

Every new filmmaker is so excited about shooting what’s in his or her head that they dive into production without the proper preparation. They don’t know that by the time shooting starts, seasoned directors have seen their film in their mind’s eye more than 100 times, working out every little detail. This lack of preparation is typically revealed by a lack of footage being shot that’s necessary to tell the story properly.

2. Bad or No Sound Design.

Audiences are used to full soundtracks, which young filmmakers forget to take into consideration until after their first film sounds thin or tinny. Even then, most newbies use 4 to 8 tracks for sound compared to 16, 32, or even 64 tracks of sound layering done by professionals. New filmmakers also have thin sound effects in their first shows.

3. Underdeveloped Story.

Beginners typically start with a cool scene idea that pops into their head and build a story over a handful of weeks. For most rookie filmmakers the development stage is the shortest. The pros take much longer developing the story. In fact, professional story development typically takes longer than preproduction, production and post-production combined.

4. Poor Casting Choices.

This is when beginners hire their friends and anyone that they owe a favor. People typically get cast based on their ability to “do business” on camera rather than being selected for their character development skills and performance. More experienced casting starts with a list of physical and behavioral attributes. The person’s ability to follow direction and draw an audience to the theater is also considered.

5. Bad Dialog.

Newbies tend to write their own scripts in a way that makes every character sound the same. Rarely are rookie filmmakers taught how to give different voices to their characters. Many times the pros will use specialists to make sure the dialog drives conflict and gives a unique voice to each character.

6. Use of Clichés.

The shorter the film the more likely a young filmmaker will use clichés and stereotypes in the creation of his or her story. The reason is based on their lack of development experience, the ease of shooting the obvious, and the lack of screen time available to explore the conflict. Pros avoid clichés like the plague.

7. Sporadic Collaboration.

Young filmmakers struggle with how to paint their vision to the cast and crew without compromise, while teaming through the cinematic collaboration process that puts excellence on screen. New filmmakers tend to find themself over controlling a project, which kills the artistry, or giving in all too often, which waters down the story. Experienced professionals know how to draw the best out of their associates through collaboration and then pick the best recommendation that’s in keeping with the vision, that is, if it’s better than the preplanned direction.

The apprenticeship process has been used for over a hundred years to raise up strong filmmakers, yet newbies continue to side step the process. For some reason most first timers desire to shoot their own film before they know how to make films, something that will continue for the next 100 years. A few survive that find mentors or get sucked into the system and climb up through the ranks. Those are the ones who learn how to avoid the common mistakes.