Last week's Super Bowl hoopla reminds me of how is great marketing works like football.

Rarely
does a quarterback run the field for a touchdown on the first play.
Though it can happen, coaches know that success is earned one play
after another, with a yard or two gained with each play. You wouldn't
bet on a football game if a team had only one play to win. But this is
exactly what inexperienced marketers do. They run one ad or do one
mailing and expect the phone to ring off the wall. Sure, it can happen.
But, like a lucky run, it's not the norm.

Why Advertising Fails

Advertising
works as a series of plays, making a little progress at a time.
Campaigns with multiple impressions and touchpoints work best.
Campaigns are a series of plays designed to score several touchdowns
and win the game.

Advertising fails when marketers
run single ads instead of campaigns. As in football, momentum is gained
with consistent forward motion. Advertisers who start, stop, and start
again are losing momentum. You make the most progress when you hang on
to the ball.

Repetition Sells

No
matter what kind of advertising you are doing — print ads, e-mail
marketing, direct mail — you need lots of repetition. The average
person needs to "catch" the message three or more times before they
take action. And just because you send an e-mail or run an ad three
times doesn't mean someone caught your message three times. It can take
a lot of throws to get one completed pass.

People
live busy lives, and, to get their attention, repetition is critical.
Marketing pros understand this, which is why you see or hear many
commercials over and over again.

Throwing My Money Away

Companies
who run one single ad in the Super Bowl are usually disappointed in the
results, though it's a big ego booster. It's a great place to be seen,
but a message has to be reinforced over and over before people will
catch it.

I once ran a single ad in an
auction-house magazine, which was horribly expensive. Instinctively, I
knew we should have repeated the ad several times before expecting any
results, but we only ran it once. For us, it was like that Super Bowl
ad, which is all about ego. Foolishly, I blew thousands of dollars and
received no results.

The greatest marketers are like
the teams that make it to the Super Bowl. There are many disciplines
they follow, and that's what makes them great. I have coached thousands
of advertisers in my career, and, if the message is well crafted, those
who follow the model of consistent repetition always win big. Are you
expecting a touchdown with your first play? Or are you in it to win the
game?

Eric Rhoads,
Fine Art Connoisseur

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Facebook
LinkedIn

Peg the Needle on the Relevance Meter If You Want to See Results

I liked this so well I am reposting it from www.wizardofads.com

Ads are often written under the assumption that we can get people to
care about things they don’t really care about. But this approach
rarely succeeds.

Traditional ad-think says:

1.    Target the right people
2.    Leverage the right media (visual media for visual products, etc.)
3.    Use creativity in delivering your message.

But nontraditional ad-think gets far better results:

1.    What you say matters most of all.
Speak to a felt need. Good advertising isn’t about the product or the
company that sells it. Good ads explain how the customer’s life will be
different.
EXAMPLE:
Don’t say, “Dr. Bill Dipweasel was voted gentlest dentist in Saginaw County.”
Say, “Get your teeth fixed. You’ll be more attractive and your confidence will skyrocket. People will treat you differently.”

2.    How you say it is critical. Clarity is more
important than creativity. Talk like people. People don’t say, “I’ve
elected to have cosmetic dentistry.” They say, “I’ve decided to get my
teeth fixed.” (Dr. Bill Dipweasel will give you push-back on this
because he doesn’t think “get your teeth fixed” sounds professional.
Also, he wants the ad to be about him.)

3.    Deliver your message using whatever media offers the best psychological environment. In what moments would a candidate for cosmetic dentistry be most open to the message we crafted about being treated differently?

Advertising works best when it speaks to what
customers already care about. This is called “speaking to a felt need.”
I've never met anyone that's had a secret, unmet desire to go to the
dentist. But tens of millions of us secretly wish we were more
attractive, more confident, and that people treated us differently.
Capiche?

Good ads aren’t about the company that’s
paying for the ad. Good ads are about the reader, the listener, the
viewer of the ad. This is especially true when writing classified ads
for employment.

A man attending a class at Wizard Academy
confessed that, working part time, he had made more than $850,000 in
employee placement fees as the direct result of a single chapter he had
read in my second book. I congratulated him on having had the
perception to recognize the potential in that chapter.

Last week I received an email about that same chapter in my second book from William, an Acadgrad living in St. Petersburg, Russia.

Dear Roy,

I received an email from my business partner (Thatcher) earlier today,
telling me that we had found the perfect applicant for an opening we
have in our company. I crafted the job ad based on one of your chapters
in the second Wizard of Ads book.

This is what I replied to him: "She's perfect. The Wizard of Ads is a
genius, and this girl is just what we want, don't you think? I mention
the Wizard because I used an article of his on writing job ads for that
one. He said the person we were looking for would recognise themselves
in the ad, and we wouldn't be swamped with tedious junky
mass-applications. And indeed that's what happened."

So thank you, Roy, for all your amazing free advice; I have yet to meet
this girl, but judging by the application, I think she should fit in
well.

Eternally gratefully yours,

William

That chapter, by the way, is called "Writing Classified Ads for Employment."  It's chapter 76 in a 101-chapter book called Secret Formulas of the Wizard of Ads, a New York Times and Wall Street Journal bestseller.

Here's an example of the strange type of classified ad that always gets superior results.

William, I'm glad you found the perfect employee. I look forward to your next visit to Austin.

Yours,

Roy H. Williams

From Eric Rhoads, Publisher of Fine Art Connoisseur

Robert
was a fifth-generation gallery owner. (His name has been changed to
avoid embarrassment, but if you've been around the gallery business
you'll probably recognize this story.) Robert's great-grandfather
became an art dealer by accident: When his wealthy friends saw his
personal art collection, they began craving paintings from the artists
hanging on his walls. Because of his friendship with the artists, he
was able to broker paintings for the artists to the patrons. Over time,
he realized there was a business to be built, so he started buying up
all the paintings he could find from the best painters. Robert was very
choosy about the artists he represented and very protective of his
reputation with his wealthy customers, many of whom started out as
friends.

Advice for the Next Generation
As
Robert's son (Robert II) came of age and completed his education, he
was given large sums of cash and sent to Europe to befriend artists and
purchase paintings. The collection continued to grow. Robert II
eventually took over the business. His father's advice to him was this:
"If people believe you're successful, your business will grow. Always
choose the best neighborhoods and offer the finest art and framing; and
even when times are soft, your customers must never feel that your
business is suffering. You must always appear more successful than
others." Robert II transferred this wisdom to Robert III, who passed it
on to Robert IV. The business is now in the hands of Robert V.

They
say that it takes one generation to build wealth and three generations
to lose it, but the gallery continued to prosper though the Great
Depression, through the war years, and through various recessions.
Though the business fell on some hard times, it was never hit as badly
as others – all because of Robert I's advice to always appear
successful.

Closing the Gallery
Sadly,
after five generations, Robert V is faced with closing the gallery.
When the economy got soft, Robert got soft as well. He retained
expenses and employees that he did not need in the downturn. Though
they may have been difficult to make, such cuts would not have been
noticed by Robert's wealthy customers. Instead, Robert believed his
customers would follow him anywhere, so he terminated his lease in a
prominent neighborhood that they had been in for decades, downsized,
and moved to the outer limits of the neighborhood. The space was
smaller and less elegant, and it sent a negative message to his
patrons.

Robert V had also been doing several openings a year.
The events were always well attended, with elegant catering and a
"who's who" attendance list in the lavishly decorated building. But
when he cut back on the openings, the catering, and the opulent
surroundings, people began to talk and stopped attending his affairs.
Robert believed their lack of attendance was simply due to the economy.

Ignoring Grandfather's Advice
Robert
V continued to ignore the advice of his grandfather. After decades of
keeping the gallery's name on the forefront of success by placing
multiple full-page ads in all the art magazines, Robert V cut back on
the number of ads he ran. Later, as things got tighter, he reduced the
size of the ads – and then stopped advertising altogether. He
rationalized that "They've known us for over 100 years. If we lay low
for a while, no one will notice." Robert virtually disappeared in the
eyes of the art magazine readers; he believed that people would
randomly check his website from time to time, forgetting that there was
nothing prompting customers to visit the site. Business worsened and,
still, he blamed the economy. His regular customers were not calling or
coming in. "They must be visiting the website and just not seeing
anything they need," he thought.

Ending Five Generations of Art Selling
Things
were getting grim. His ancestors had assured him that when business had
been tight in previous economic downturns, the wealthy still had money
to spend on paintings. But this time there was no evidence of that.
Robert was forced to take his kids out of private school, cancel his
club memberships, and place his exclusive apartment up for sale. These
moves created rumors that he was in trouble, and no one likes to do
business with a company in trouble. He tried to sell the business but
was told that it had lost its prominence and had no value. Fearing the
end of five generations of success and thinking he would soon have to
get a job working for a competitor, he became depressed and frightened.
How would he face the shame?

A Wise Voice of Experience
One
day, Robert had a conversation with an elderly man who had been one of
his father's employees. The man was long retired after 40 years with
the firm. When Robert shared his woes, this employee told him some
things he never knew. "Your father and grandfather went though this.
There were times when we did not know if we were going to keep the
doors open. We were not paying our bills and were getting deeper in
debt with our vendors. We had to lay off most of the staff and cut back
on every possible expense. But what got us though was the advice
created by your great-great-grandfather, the founder of the business:
'You must always appear more successful than others.’"
The wise
man continued, "Though we could not afford to do it, we managed to keep
our gallery space. No one ever knew this, but your grandfather even did
the cleaning after hours because he could not afford help. He continued
to throw the most lavish parties – which he could not afford – but
those parties almost always resulted in a couple of sales, which bought
us more time. He continued his presence in the art magazines and art
shows because he knew people would assume that he was thriving while
other galleries were suffering. It worked. Though it was difficult, we
ended up making sales we never would have made otherwise. A benefit we
did not expect was that, because our competitors were not advertising,
we started to see their customers come in the door. When things got
better, our business grew more than it ever had because people
perceived us to be stronger and more important. Meanwhile, many of our
competitors disappeared because they didn't keep their name in front of
customers, who eventually came to us because we were visible and looked
successful."

Taking a Risk to Stay in Business
Robert
got the message. He decided that if his business was going to go
bankrupt, he would go down in flames trying everything to prevent it.
The old gallery space had not been re-leased, so he negotiated a better
deal to get back in. He began throwing lavish parties again, and his
customers returned. He started advertising again, which brought in more
customers over time. By following his great-great-grandfather's
advice – "You must always appear more successful than others" — he
managed to start selling enough paintings to survive. Though his
apartment is still for sale, his kids are in public school, and he made
some tough choices and cut some key employees, his business is on the
road to survival. When things get better, he will be more profitable
than ever.

A Historic Perspective
When I heard this story, it reminded me of an article I read recently in the New Yorker
about how Kellogg's became a leading brand during the Great Depression
because its biggest competitor failed to appear more successful than
others. When Post stopped advertising, its customers shifted to the
company that increased its advertising. That made Kellogg's a leading
brand, which has continued for decades.

Lessons Learned from This Story
1.
There is always someone with money to spend – but if they feel you're
in trouble, they won't do business with you. Many galleries are getting
through these difficult times because they have always chased highly
affluent customers. We're hearing stories daily of galleries that are
still selling artworks to these customers. Though they may be buying
less and expecting bargains, they are providing survival cash flow.

2.
Appearances are important in some businesses. Evidence of downsizing,
cuts in advertising, size of ads, cheap food and wine at events (or no
events at all) send subtle signals to your customers that you are in
trouble. Though customers understand people are in trouble in this
economy, it's a mistake to make them think it's happening to you.

3.
Spend money where it will benefit you most and cut where it’s not as
critical. I have a gallery customer who terminated two employees he
could live without, put the money into increasing his advertising, and
actually earned enough from increased sales to rehire the employees.

4.
Don't assume they will remember you. We assume customers know us and
think of us all the time, but they need reminders. Advertising not only
reassures them that you're still strong, it keeps your name in front of
people and encourages them to call, visit, or visit your website. If
you disappear from visibility, they are not reminded of your presence.
If your competitors remain visible, they will take your customers.

Though
these strategies are not easy to implement when there is no cash flow,
it's critical to keep your face in front of customers who have money to
spend.

Did You Know:

– A Fine Art Connoisseur
customer responding to an ad recently made a multi-million-dollar
purchase from one of our advertisers? I'd be happy to inform you of
specific details by phone.

– Fine Art
Connoisseur has over 300 BILLIONAIRE readers and over 1,500 of
America's wealthiest millionaires, penta-millionaires, and
deca-millionaires.

– Welcome to recent new advertisers, including:
– American Legacy Fine Arts, Los Angeles
– Fine Art Dealers Association
– Godel & Co. Fine Art, New York
– Hammer Galleries, New York
– Howard/Mandville, Kirkland, WA
– InSight Gallery Fredericksburg, TX
– International Fine Print Dealers Association
– Medici Portraits
– Questroyal Fine Art, New York
– Quidley & Company, Boston
– Royal Gallery, Providence, RI
– Schiller & Bodo, New York
– Trees Place, Cape Cod
– VOSE Galleries, Boston

Yours truly,

Eric Rhoads
Publisher
[email protected] 
Summer (Adirondacks): 518.327.5000
www.fineartconnoisseur.com
Twitter
Facebook
LinkedIn.

PS: Our fall issue will have bonus distribution at numerous shows. Keep
your gallery visible during the fall season. Deadline for booking: July
28.

Please
e-mail me with the subject line "Eric, I'm interested," and I'll have
someone follow up with you. Or call me at 518.327.5000.

 

To help your gallery sell more artwork this summer, I've
put together these 7 ideas.

1.
Remember the Basics: 
Because we are all
very close to our businesses, we assume people know what we do, who
we are, and what is featured in our galleries — but this is simply
not true. Though you should continue to "work" your customer
list, also develop a strategy to attract new faces and new customers.
People are moving all the time, and out-of-towners are visiting.Your
outreach program should tell your story in fresh ways that will bring
in the new people and reinvigorate those who have not been in for a
while. 
 
2. Traditions Can Become
Tired 
Have you been doing
the same things year after year? Though tradition breeds comfort, it
also breeds complacency. Have people stopped attending your openings
or events because they have become too predictable? Shake things up.
Invite interesting people or VIPs to create buzz. Though a fresh artist
or a new show is often enough, it can't hurt to use a hot caterer, promote
a celebrity guest, or feature an intriguing speaker. 
 
3. People Love to
Watch and Participate 
People are fascinated
by watching sculptors and painters work. Set up guest artists weekly
and find ways to spread the word though the community. Host something
fresh every week or two throughout the summer. Consider running some
special family or kids events. Create local art programs outside the
gallery so parents can browse inside while kids are busy with outdoor
art lessons, coloring, or crafts. 
 
4. Become a Destination
Locally and Nationally 
Community calendars
and event and tourism guides are used by both locals and visitors. We
pick them up first thing when we arrive in the Adirondacks each summer.
It’s smart business to maintain visibility through ads, event notices,
calenders, etc.

Also don't forget the advantage of a national audience.
Many galleries are part of a summer itinerary, and those who promote
nationally can become a destination for families looking for a place
to go. Look for national art destination guides — (for instance, we
have a guide to Cape Cod, Nantucket, Martha's Vineyard, and the Hamptons
in the July/August issue of Fine Art Connoisseur. ) These are a
good place for your ads to prompt visitors to plan a visit. A national
strategy is equally important year round, because a collector can pick
up the phone or go to your website and buy without ever visiting.  
 
5. Remember Retail Basics 
Though most galleries
shy away from being perceived as retail, there are many basics that
apply to any business.  
• Create interesting
window displays and change them frequently. Make sure they are well
lit and inviting at night.  
• Move displays around
frequently. People notice things when walls and paintings have been
moved. One gallery I visit every summer in the Adirondacks has not changed
in 20 years, and therefore I don't even walk into certain sections. 
• New decor helps people
see your space differently. 
• Make the environment
welcoming. Retailers know that music and scents stimulate buying. Many
people are intimidated by galleries, so a simple sign that says "Please
come in and browse" may sway those daunted passersby. A billionaire
once told me, "art galleries intimidate me, so I never go in unless
I already know the people." 
• A plate of cookies
works wonders to stimulate sales in small retail locations. The enticing
aroma says people are welcome here and invites them to spend more time. Companies like ScentAir specialize in retail scents and can find ways to spread the smell outside to draw people in.
• Watch your body language.
Retail researchers say a welcoming smile has a strong impact on sales.
Avoid crossed arms or standing guard. It drives people out the door. According to the book  Buyology: Truth and Lies About Why We Buy
a smile actually triggers a desire to buy in the brain.
• Don't judge a book
by its cover. Billionaires can have long hair, unshaven faces, and sloppy
clothes, especially on vacation. Make everyone feel welcome.  
 
6. Summer Loan Program
and Party Circuit 
Invite affluent patrons
in and suggest they pick a painting to try for July — no obligation.
If they grow fond of it, they'll buy it. Local charity events are often
held in affluent homes, so more galleries are offering to hang art for
the event, which is an excellent way for large crowds to see your artwork.
Find a tasteful way to let them know who provided the art and that each
piece is available. Keep local decorators aware of your art while summer
homes are being redecorated or built (we suggest a luncheon or mixer for local decorators to get them into the gallery). 
 
7.
Art Education Seminars and Events 
Education is powerful.
Holding events in or out of the gallery — featuring experts, guest
lecturers, or seminars — is a powerful tool for creating deeper interest
in art. Promote an "Understanding Art" or "Art Basics"
course for beginners, hold sessions on specific historic or living artworks
or styles, or host forums with multiple experts. People love free, interesting
things to do. Each is an opportunity to build your brand, create publicity
(newspapers like "things to do" to print), get people in your
doors, and spur interest in art. Use pieces that hang in your gallery
to develop discussions.  
 
It never hurts to try something
new, and I hope these ideas stimulate your business this summer. The
most important basic of all is to remember that you won't catch any
fish if you don't put your line in the water. It’s important to stay
visible at all times. This article from the New Yorker is a good reminder about marketing in down economic times. Happy summer. 
 
Best, 
 
Eric Rhoads 
Publisher 
Fine Art Connoisseur 
[email protected] 
 
PS: We welcome these recent new advertisers
Vose Galleries of Boston, Hammer Galleries, Questroyal
Fine Art,  Godel & Company, Tree's Place, and the Fine Art Dealers Association (FADA)
to Fine Art Connoisseur . And thanks to our many advertisers who
continue with us!

Also, we just learned that an ad in our magazine
was directly responsible for a multi-million-dollar purchase by a billionaire
collector-reader recently. I'd be happy to tell you more personally. 

 

This comes from our director of sales Jim Gustafson

A couple of weeks ago a new gallery asked me what I would suggest they do to build their brand quickly. When I asked "who do you most want to be perceived like (competitor) and what do you want to be perceived as," the owner told me of a major gallery he hoped to model. He said that he hoped that in 10 or 20 years he would be considered as important. Of course I asked, "Do you have 20 years?" His answer was, "no, we have three years to make it or break it."

"What if I showed you a strategy to build your brand and prestige quickly and overcome the 20 years?" He was all ears.

I started out saying that nothing can overcome time and heritage, however branding is a gradual process which not only requires repetition and a powerful message (ad design, copy, headline, artwork). But I can help you leap several years forward with this strategy. Advertise frequently, advertise bigger than your targeted competitor, and advertise deeply (more places) but only if you can afford to dominate in each publication to get noticed.

I believe author, marketing expert and dear friend Roy Williams will tell you that the small sends a small message, big sends a big message, giant sends a giant message. People who want to be perceived as giants need to APPEAR as giants. Of course this is not always possible and many have to start small, build business gradually and build from there.

The first important principle of any advertising is FREQUENCY. Be there often. I would rather have 6 issues in a row of 1/2 pages than 1 or two full pages. Frequency builds brand.

Secondly, size sends a message. Not to diminish the smaller advertisers, but its a fact. An advertiser with a bigger ad presence seems like a bigger company. A half page advertiser looks more important that a quarter page advertiser (unless you blow it with poor design). A full page advertiser looks more important than a half page advertiser.

Pay close attention to the companies you know as big brands or those you perceive as "owning" a brand position. One advertiser I know of is perceived as the leader in the illustration category. It’s not unusual to see 4 or 6 pages in every issue from this advertiser. How can anyone appear bigger? It is not easy.

So, what did I recommend to the gallery owner to build his brand as big, important and speed the process? I recommended a 20 page spread of ads. You cannot NOT get noticed. Everyone will immediately be impressed, even the hard to impress people. You will stand out above all others and you will have a perception of being bold, of having a deep financial war chest, of being confident, and of being big. As long as the content of the ads support the message of quality. So, I recommend 20 pages every issue for a year, and if possible for two years. By the end of the second year, as long as the content and the product (quality of artwork offered) and follow through (customer service, personnel) match the projected quality, this gallery will own a top 10 position within 2 years. By following the normal course of action, which is a single page per issue, it would take 10 years or longer to build a solid presence and yet the perception of big would never occur to the same extent.

So, if being perceived as bigger and better is important, fake it till you make it. It works.