Archives for June 2012

The Power of No

[by Todd Joyce]

Yeah right. I want that job! Who can say no in this economy? If that’s your negotiating position, I’m here to tell you – that’s not negotiating. It’s begging. Have you every been pulled over for speeding and tried to negotiate your way out of a ticket? Nope, it’s called begging. And that’s all you can do. You have nothing to offer the officer to negotiate with him or her to get out of it. Plead and beg all you want. Try logic. I even hear that crying works for some. But in the end, it’s the officer’s decision and you have to take that ticket if they give it to you. You have no choice.

Negotiating is a discussion of terms of exchanging valuable goods. Power in a negotiation is having something the other party needs. The more they need it, the more value it has to them and the more you can get for it. They likely have money that you want. And if you really need it, then you’re willing to give them more for it. If you have what they need, then they will be willing to give you more for it too. What you can do for them has value. View it that way. Work to exchange things of value in the discussion. Rushing to meet their timing has value. Granting certain rights has value. Delivering quality has value and so does your unique vision of communicating their message. Even their confidence in you being able to achieve their vision has value. Recognize your value. You have the ability to ask for something of value in exchange and you have the right to take what they offer or say no. They also have that right. And, if you are not willing to say no, then you’ll get what they decide, just like getting a ticket. You have no choice.

via The Power of No at Strictly Business.

[by Charles Gupton]

The most important element in any negotiation process is defining the value of what is being exchanged. Without a clear understanding of what you have to offer and its value to the person you’re communicating with, the negotiation process will quickly become frustrating.

The challenge for many commercial artists/photographers is that they are artists first while the “commercial” aspect unfortunately takes the back seat. The mindset of many artists is that it’s acceptable to be under compensated for their work, hence the description “starving artist.” And what you do is an extension of what you believe.

If you are struggling with the negotiation process, take a look at these two aspects— the value of what you offer and your relationship with money — and think about where you stand. In her book, “Overcoming Underearning,” Barbara Stanny writes: “Psychology is to money what an engine is to a car. Whenever you’re stalled, that’s the first place to look.”

Although “looking under the hood” may be disorienting and the last thing you want to do with your time, negotiation is simply a process of exchanging beliefs about value.

You can’t transfer a belief you don’t have.

via Negotiation Starts with Value at Strictly Business.

Negotiating is a Full-Time Job

[by Barry Schwartz]

If you’re in business for yourself, you’re negotiating even when you only appear to be pushing paper around.

For instance: proposals and contracts. You have a potential client with whom you have discussed – at length – all the particulars of a job.

As you write the proposal, what you say, where you say it, and how you say it might make all the difference between a document that remains a proposal and one that turns into a contract.

If you sound like the most important part of your job is to take care of your client before yourself, well, honestly, isn’t that nice? Who wouldn’t want to work with that person?

If the proposal sounds more like you’re the client’s partner and less like a sub-contractor, well, anyone would rather hang around a partner than a contractor.

On the other hand, if the first page of your proposal is filled to the brim with restrictions, warnings, and threats of legal action; and if the client is on the fence about giving you the job; and if the client has had a bad day; and if the client is looking for an out because they think their life is hard enough already, well, that client might read that bleak document representing all your work, hopes, and dreams for a decent payday and throw it away.

There are several ways to help avoid this potentiality.

You could take all those threats and warnings on the first page and put them on the second page in your Terms & Conditions.

You could make the language on the first page sound like ordinary English, indicating to the client you don’t spend all your time with a lawyer whispering in your ear. At least on the first page.

You can make your “deliverables” clear and understandable (see above), such as how many images you’re providing, what kind of file, resolution, and color-space; when they might expect to see selects; what the charges are for post-production, assistants, and so on. Let them know what it takes to get the job done.

You can design your proposals to be easy on the eye (you are a professional visual artist, after all).

Proposals and contracts are a representation of who you are as a professional and a creative and they’re a sales tool. So grab your keyboard and start negotiating.

via Negotiating is a Full-Time Job at Strictly Business.