Selling information management

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Presentation to the Ottawa chapter of ARMA in 2011. Includes basic communications and adoption of innovation concepts.

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  • Specifically for innovation having fun is important.
  • Specifically for innovation having fun is important.
  • Selling information management

    1. 1. SELLING INFORMATION MANAGEMENTARMA, December 14, 2011 @thomkearney 24/07/2013 Rowanwood - ARMA: Bridging the Gap 1
    2. 2. Outline  Introductions  Opportunity definition  Communication concepts  Some strategy  How do you sell IM?  Summary & Wrap up Rowanwood - ARMA: Bridging the Gap24/07/2013 2
    3. 3. Rowanwood - ARMA: Bridging the Gap24/07/2013 3 INTRODUCTIONS
    4. 4. Short History 1980’s Advertising, Teaching & Learning 1990’s Clue train manifesto, Web 1.0 2000’s Change consulting, PS EX2 2010’s Gov 2.0, Everything is miscellaneous DAL MIM Rowanwood - ARMA: Bridging the Gap24/07/2013 4
    5. 5. Social network 24/07/2013 Rowanwood - ARMA: Bridging the Gap 5
    6. 6. What shape are you? Rowanwood - ARMA: Bridging the Gap24/07/2013 6
    7. 7. What seems to be the problem? 24/07/2013 Rowanwood - ARMA: Bridging the Gap 7
    8. 8. OPPORTUNITY BRAINSTORM What value do you offer? What behavior do you want? 24/07/2013 Rowanwood - ARMA: Bridging the Gap 8
    9. 9. Communication is the bridge 24/07/2013 Rowanwood - ARMA: Bridging the Gap 9
    10. 10. COMMUNICATION CONCEPTS Rowanwood - ARMA: Bridging the Gap24/07/2013 10
    11. 11. What I learned from advertising 1. Know your product  Features and benefits  Competitive landscape 2. Know your audience  Understand their needs and wants  Why should they care? (WIFM) 3. Shape your message  Something they care about  At the right moment  Appropriate level of detail 24/07/2013 Rowanwood - ARMA: Bridging the Gap 11
    12. 12. Communication Types Interpersonal  Small groups, non verbal important  Telephone, video Non Personal  Written: doc, deck, email, posters  Rich media  Video, web, etc Rowanwood - ARMA: Bridging the Gap24/07/2013 12
    13. 13. Communicatio n is difficult. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 13
    14. 14. Communication Model Rowanwood - ARMA: Bridging the Gap feedback receiversender encode Decide what to say and how to say it. transmit Select and use a particular vehicle or vehicles for the message. Perceptual barrier 24/07/2013 14
    15. 15. Model - Sending 24/07/2013 Rowanwood - ARMA: Bridging the Gap 15  The effectiveness of the message (encode), depends on how well it relates to receiver's interests.  The effectiveness of the vehicle used, (transmit) depends upon its ability to reach the receiver. sender encode transmit Some people say that communication is 10% words, 30% sound and 60% body.
    16. 16. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 16 Model - Receiving We must first be physically exposed to the message If it relates to what we care about, we may perceive it If its important to us we may remember it and act on it receiver Message Ethos - Credibility Pathos - Emotion Logos - Logic Hear Interpret Evaluate Perceptual barrier
    17. 17. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 17 Model - Receiving Hear:  Perception, must physically sense the message - language, environment, personal state, and competitive messages all play a role. Interpret:  We apply meaning to the words and images based on our beliefs, experience, knowledge of sender, etc. Evaluate:  Based on interpretation we determine veracity and response – (think-feel-do).
    18. 18. Listening Is more important than speaking 24/07/2013 Rowanwood - ARMA: Bridging the Gap 18 • We have two ears and only one mouth for a reason. • To listen effectively we must seek first to understand - then be understood.
    19. 19. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 19 Listening Pointers  Care enough to work at it Fight distractions Ask questions and paraphrase Don't interrupt - let the other person talk  Use your extra brain Reflect on what they “might” mean. Find the interest to you.  Withhold judgment Diagnose before you prescribe. Stifle anger and emotional responses.  React to the message - not the messenger Deal with issues not personalities. Listen for the main ideas - substance not style  Empathize "listen to what I mean, not what I say"
    20. 20. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 20 Listening - Killer Phrases Sometimes you need to think twice before saying nothing. Killer phrases create potential conflict where one was not necessary. Yes but......However......On the other hand....... All these negate whatever you said previously........replace with a pause. Replace “You" with "I" "you do this, and its a problem" versus “I feel this way when you do that”. — it is not the person, but the behaviour that bugs you. Accept ownership for problems - its not theirs its yours. (reduces conflict by 80%) People will like talking to you and they won't even know why!
    21. 21. SOME STRATEGY 24/07/2013 Rowanwood - ARMA: Bridging the Gap 21
    22. 22. Change within a group Diffusion of Innovation Model: The reference pattern of how a group adopts change. Innovation includes any thought, behaviour, or thing that is new because it is qualitatively different from existing forms. Rowanwood - ARMA: Bridging the Gap24/07/2013 22 0 5 10 15 20 25 30 35 40 Innovators 3% Early Adopters 14% Early Majority 34% Late Majority 34% Laggards 15% Time Most people will resist change Communication
    23. 23. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 23 Change within individuals Unaware Awareness Interest Desire Action Adoption There’s nothing wrong with the way I do it now. Others say this is a good thing. I’m interested in learning more about it. Something is going on. Should I bother? I should probably do this thing. Ok let’s try it out. How do I do this? This is a good thing, the benefits are real and I am rewarded for my new behaviour. Communication Goal: To help your audience move along the adoption process Most individuals will go through these steps on the way to adopting a change.
    24. 24. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 24 Communications Strategy Different approaches for different steps Unaware Awareness Interest Desire Action Adoption Guidance Actual instructions or guidelines on how to make the change. Access to detailed information and policies. Education More detailed information and examples, (proof). Personal contact may be required. Awareness Broad based, lots of benefits and directional pointers. Listen and Learn
    25. 25. Put the user at the centre 24/07/2013 Rowanwood - ARMA: Bridging the Gap 25
    26. 26. Engage in vigorous discussion 24/07/2013 Rowanwood - ARMA: Bridging the Gap 26
    27. 27. Have fun 24/07/2013 Rowanwood - ARMA: Bridging the Gap 27
    28. 28. HOW DO YOU SELL IM? Rowanwood - ARMA: Bridging the Gap24/07/2013 28
    29. 29. REVIEW & WRAP UP 24/07/2013 Rowanwood - ARMA: Bridging the Gap 29
    30. 30. Communication Model Summary 24/07/2013 Rowanwood - ARMA: Bridging the Gap 30 Think about the message from the receiver's point of view. Deliver it in a way that will get through the barriers. Listen to feedback and respond.
    31. 31. Principles of communication  The messages that have impact appeal to things that are important to people.  Beliefs and opinions can be strong and WILL affect interpretation.  Communication is cumulative and comes in many forms.  Communication is two way. 24/07/2013 Rowanwood - ARMA: Bridging the Gap 31
    32. 32. Stay curious 24/07/2013 Rowanwood - ARMA: Bridging the Gap 32
    33. 33. THANK YOU Rowanwood - ARMA: Bridging the Gap24/07/2013 33 @thomkearney thom.kearney@rowanwood.ca 613.292.8183
    34. 34. The Capo D’astro Bar Looking For The Capo D'Astro Bar, Author Unknown Back in the sixties, I was hired by an ad agency to write copy on the Aeolian Piano Company account. My first assignment was for an ad to be placed in The New York Times for one of their grand pianos. The only background information I received was some previous ads and a few faded close-up shots...and of course the due date. The account executive was slightly put out by my request for additional information and his response to my suggestions that I sit down with the client was “Are you one of those? Can’t you just create something. We’re up against a closing date!”. I acknowledged his perception that I was one of those, which got us an immediate audience with the head of the agency. I volunteered I couldn’t even play a piano let alone write about why anyone would spend $5,000 for this piano when they could purchase a Baldwin or Steinway for the same amount. Both allowed the fact that they would resign the Aeolian business for either of the others, however, while waiting for that call, suppose we make our deadline. I persisted and reluctantly, a tour of the Aeolian factory was arranged. I was assured that “we don’t do this with all our clients” and my knowledge as to the value of company time was greatly reinforced. The tour of the plant lasted two days and although the care and construction appeared meticulous, $5,000 still seemed to be a lot of money. Just before leaving, I was escorted into the showroom by the National Sales Manager. In an elegant setting sat their piano alongside the comparably priced Steinway and Baldwin. “They sure do look alike.” I commented “They sure do. About the only real difference is the shipping weight - ours is heavier.” “Heavier?” I asked. “What makes our heavier?” “The Capo D’Astro bar.” “What’s a Capo D’Astro bar?” “Here, I’ll show you. Get down on your knees.” Once under the piano he pointed to a metallic bar fixed across the harp and bearing down on the highest octaves. “It takes fifty years before the harp in the piano warps. That’s when the Capo D’Astro bar goes to work. It prevents the warping.” I left the National Sales Manager under his piano and dove under the Baldwin to find a tinkertoy Capo D’Astro bar at best. Same with the Steinway. “you mean the Capo D’Astro bar really doesn’t go to work for 50 years?” I asked. “Well, there’s got to be some reason why the Met uses it.” he casually added. I froze. “Are you telling me that the Metropolitan Opera House in New York City uses this piano?” “Sure. And their Capo D’Astro bar should be working by now.” At the Metropolitan Opera House I met the person in charge of moving them to the Lincoln Center and was told “About the only thing the Met is taking with them is their piano.” That quote was the headline for our first ad. The result created a six year wait between order and delivery. No matter what the account, I promise you, the Capo D’Astro bar is there. Rowanwood - ARMA: Bridging the Gap24/07/2013 34

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