The Feel Felt Found Technique to Overcome Sales Objections and Make More Money From Sales

Feel Felt Found is a brilliant way to handle those fast little sales objections that come from the customer's feelings. Use it on the sales objections that start with, I think, or I feel. They often come as a first reaction to the product or some of its features. Feel Felt Found is a great way to overcome sales objections in retail or showroom sales. It is easy to learn, effective in many sales situations, and you can start using it today.

At first you may feel skeptical about such an easy way to approach sales objections. Many experienced sales people have felt the same way. Once they tried it they found it closed sales and earned them commission.

An additional benefit

If you're a sales manager you can try adapting this sales technique for coaching and influencing your sales team. There are a lot of similarities between selling and coaching. After all, you are trying to influence people's actions and behaviours.

You understand how they FEEL

Empathize with the customer. Tell them that you can understand how they feel as they raise their sales objection. When handling sale objections you want to work with your customer, not against them. Think of it as a sales martial art technique. You use their force and change the direction, not meet it head on with another force. The Feel Felt Found objection handling technique is a great way of doing that. You are letting them know that it is understandable that they have this objection to the sale. That it's normal, it's happened to other people, and they still bought the product.

Other people FELT the same way

Other customers, that went on to buy from me, felt the same way.

You are using social proof to show that this is also what others have said, and they went on to buy. Your customer wants to be like others, we all do. Do you enter an empty restaurant? If you see a crowd gathered at a market stall you go and take a look. If they find it interesting, so could you. Like it or not we still follow the crowd. Many sales markets rely upon this basic instinct.

With the Feel Felt Found technique you are emphasizing the message that, the feelings your customer has at the moment have been felt by others and it didn't not stop them buying. The reason it didn't stop others buying is because of what they Found.

Others have FOUND

I understand why you FEEL....

Others have FELT.....

What they FOUND was........

Tell the customer what other people found when they went on to buy from you. What they found that overcomes the sales objection. Spice it up and add some great sales benefits. When you tell the customer what others found you have the opportunity to sell your product. Tell them, others didn't just find the objection was no longer an issue. They found something great that surpassed their expectations and gave them something great.

Feel, Felt, Found, putting it into action

I understand why you might Feel the price is too high.

Other customers have Felt the same way.

When they saw the money they saved with it they realised it was a really good investment

I know how you feel. When I first saw it I felt the same. But when I tried it I found I looked at it in a different way.

It's understandable that you should feel that way. I felt the same when I thought about changing. Now I've found that it works much better than my old one.

Try it for yourself

I can understand how you might feel about trying a new way of handling sales objections. When I was first shown the Feel, Felt, Found, way of handling sales objections I felt the same. Now I've found in many situations it's a really effective way of overcoming sales objections.

Try it out and start using it today. You find after a while that it comes natural. What I like about it is how easy it fits into communication and normal conversation. I've used it twice within this article to sell the benefits of the Feel Felt Found technique. Did you spot where I used it?

This great sales objection technique works really well when combined with an effective sales objection handling process such as How to Handle Sales Objections

Stephen Craine is a working sales manager and trainer for a major UK company. He uses his experience of sales, motivation training, NLP, and personal development coaching to achieve results for himself through the achievements of others in a sales environment.

All the sales training presented here, and on the website, has been tested and proved by working sales people in real sales situations. There are no acronyms, buzz words, or complicated techniques to market training courses. The focus is on practical sales training that achieves results. For more free sales training and sales skills information visit the Sales Training website

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Professional Sales Training With a New Technique That You Will Not Have Seen Anywhere Else

Professional sales training builds new mental pathways that help you to flow through the selling process. You will acquire new ways of thinking that will increase your results in front of customers. This career sales training fires you into a motivated selling state so you can make the best of your skills and abilities. It also gives you a quick fire training exercise that teaches you how to use features, benefits, and closing, in a new way.

Try it for yourself with this quick training guide. This is a simple instruction on how to form a chain that starts with a customer need, and links features, benefits, and then moves to close the sale.

Take a need, want, or desire, that one of your typical customers may have. Now consider the best feature of your product or service that will meet that need. What is the benefit the feature provides that will satisfy the customer's need? A feature is something your product has or does. The benefit is what that feature does for the customer. A feature of a car could be that it does 40 miles to a gallon of fuel. One of the many benefits this supplies to the customer is that the low fuel consumption saves them money. To find the benefits, think how the feature of your product fulfills what the buyer is looking for.

With practice and use of this professional sales training exercise, you will start to see different ways your product can benefit your customers. You will form new mental connections that matches features of your product to the many possible benefits. When you have connected the feature to the need, and a great benefit to the feature, you simply flow into your close of the sale. This is the simplest version of a Need-to-Close Chain

Now you can see the chain and how it is formed, you can start to practice the chain as a career sales training exercise. Chose another requirement a buyer may want from your product. For the next link in the Need-to-Close Chain select the best possible feature to meet that requirement. As you complete this link in the chain you are training your mind to connect features to needs. This time when you select the benefit the feature provides, explain what the benefit does for the buyer. Present in detail how this benefit gives them what they are looking for. Then smoothly add on the next link in the Need-to-Close Chain and close the sale with an agreement gaining question.

As you practice the chain you will build the connections that link needs, features, benefits and closing the sale. This is great sales training for helping you think on your feet in front of customers. It gets you out of the bad habits of segmented sales pitches. Segmented pitches are a result of some corporate sales training courses that teach sales structure in separate sections and don't focus on linking the sections together. As you use the sales training exercise start to increase the speed as you work through the chain. Get to a point where you can do it with unconscious competence. This is when it becomes really effective and starts to become part of your selling skills.

To get the best results from this free sales training, consider the sales and motivation training needs that you have.

If you want a training technique that gives you a sudden burst of motivation, then practice the exercise between appointments. It is a fantastic way to get into a top selling state, that gives you access to all your resources, and allows you to use your skills to full effect.

When you get a new product, and you want to build your sales pitch, the Need-to-Close Chain is the perfect way to form a pitch. Instead of thinking in just boring old technical features, you start by picturing a buyer's needs. Then work through the chain for each need and link it to features and benefits. Follow this by going straight into an agreement gaining question.

For all trainers and team managers this is a professional sales training tool. Use it to liven up training sessions. Install the behaviour of linking through the chain into your sales team. It's a great interactive team exercise that creates a new way of thinking that will increase sales and conversion rates.

This is only a brief outline of the Need-to-Close Chain and how you can benefit from using it. There are many more ways to incorporate it into your daily routine or your teams sales training. For more information on sales training focused on the Need-to-Close Chain and a free ebook on how to use it to its full effect go to http://www.sales-training-sales-tips.com/free-newsletter-sales-training.html

Stephen Craine is a working sales manager and trainer for a major UK company. He uses his experience of sales, motivation training, NLP, and personal development coaching to achieve results for himself through the achievements of others in a sales environment. All the sales training presented here, and on the website, has been tested and proved by working sales people in real sales situations. There are no acronyms, buzz words, or complicated techniques to market training courses. The focus is on practical sales training that achieves results.

For more free sales training and sales skills information, and to see what else might be of interest to you or your company, visit the website at http://www.sales-training-sales-tips.com

This post was made using the Auto Blogging Software from WebMagnates.org This line will not appear when posts are made after activating the software to full version.

English Literature: Charles Dickens's Narrative Technique

A critic wrote: 'Every writer of fiction, although he may not adopt the dramatic form, writes in effect for the stage.' When considering the statement in relation to Dickens we cannot take the word 'stage' too literally. Much of Dickens's writing involves the evocation of landscapes, such as the marshes in 'Great Expectations' or Yarmouth beach in 'David Copperfield' which could not be accommodated on the stage. Nor could the stage accommodate the numerous changes of scene which occur in Dickens's novels. The 'stage' Dickens refers to is the stage of the reader's imagination, and his narrative technique plays upon that 'stage' to grip and hold our imaginations.

Dickens's dramatic technique has more in common with the cinema than with theatre; but the cinema is essentially a dramatic medium in that it functions through character, action, dialogue, and setting, and only minimally through literary techniques. In this essay I will look at some of the dramatic, and literary, techniques found in Dickens's writing, and consider their effectiveness and their limitations.

When we think of a Dickens novel it is pictures and dramatic events which spring first to mind. In pictures we see, for example, Peggoty's boathouse at Yarmouth in 'David Copperfield', the interior of Fagin's den in 'Oliver Twist', and the frozen wedding feast in Miss Havisham's room in 'Great Expectations'. Among the dramatic events we might recall Magwitch threatening Pip in the churchyard, Oliver asking for more, and Uriah Heep being unmasked by Micawber.

Dickens's 'pictures' are an integral part of the fabric of the narrative, conveying meanings in themselves, and unlike, for example James Joyce's descriptions, we are not required to interpret the images looking for symbolism, but to see them vividly. It is through conjuring images on the stage of our imagination that he draws us into the story. For example:

'She was dressed in rich materials - satins, and lace, and silks - all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table.' (Great Expectations. Ch.8.)

The words of this passage serve only one purpose, that we should see the scene in our imagination. The writer's stance is that of an objective reporter, and the short factual sentences, packed with detailed observation, do not in themselves convey any response or judgement. The reader responds not to the words, but to the picture. In fact the passage is notable for the total absence of emotive words. Nowhere do we see words such as 'decay', 'horror', 'stagnation' or 'death', and yet we can feel, or at least understand, Pip's horror at finding himself in this room where the only sign of life is the movement of the dark eyes looking at him.

As an example of a dramatic event, using action and dialogue we can take this passage from 'Oliver Twist'.

'Before Oliver had time to look round, Sikes had caught him under the arms; and in three or four seconds he and Toby lay on the grass on the other side. Sikes followed directly. And they stole cautiously towards the house.

. . . He clasped his hands together, and involuntarily uttered a subdued exclamation of horror. A mist came before his eyes; the cold sweat stood upon his ashy face; on his limbs failed him; and he sank upon his knees.

'Get up!' murmured Sikes, trembling with rage, and drawing the pistol from his pocket; 'Get up or I'll strew your brains upon the grass.'

Here the movement of the dramatic action is so powerful that we do not really need the dialogue; we would understand perfectly what was going on if the scene were presented as a silent film. Oliver is being forced, against his will, in a certain direction, and he is resisting with all his might, both physically and morally. The dramatic scene reflects the way Oliver has been forced into roles against his will ever since he was born in the workhouse. This is Dickens at his most dramatic, placing characters and actions vividly on the stage of our imaginations.

Much of Dickens's writing functions in this way, but there is also much which is non-dramatic which functions on a verbal, literary level.

'She was most noticeable, I thought, in respect of her extremities; for her hair always wanted brushing, her hands always wanted washing, and her shoes always wanted mending and pulling up at heel. This description must be received with a weekday limitation. On Sundays she went to church elaborated.' ('Great Expectations' Ch.7.)

The reader might create a visual picture of Biddy from these fragments, but the passage really conveys ideas rather than images, and makes its impact through the use of language, achieving an effect which has no direct parallel in film or drama.

A more subtle literary technique, which also goes beyond the limitations of drama, is illustrated near the opening of 'Great Expectations':

As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like were unreasonably derived from their tombstones. The shape of the letters on my father's gave me an odd idea that he was a square, stout, dark man, with curly black hair. ('Great Expectations' Ch.1.)

This passage conveys an intimate and complex process in which an individual's thoughts mingle with his perception of the outside world. The activity here is purely conceptual, illustrating the strength of literature over theatre or film - its ability to communicate concepts and intangible thought processes.

'David Copperfield' is perhaps the least dramatic of these three novels. Like 'Great Expectations' it is a fictional autobiography in the first person, but unlike Pip, David has become a writer and is consciously interested in his craft. Thus in reading 'David Copperfield' we are far more aware of the fact that we are being told a story that we are in 'Great Expectations'.

My school days! The silent gliding on of my existence - the unseen, unfelt progress of my life - from childhood up to youth! Let me think, as I look back upon that flowing water, now a dry channel overgrown with leaves, whether there are any marks along its course by which I can remember how it ran. ('David Copperfield' Ch.18.)

This is the work of a self-conscious artist primarily interested in his own imagination, and again there is an intimacy between author and reader which cannot be achieved in a dramatic medium.

One could not talk about Dickens's drama without mentioning his characters. The variety and memorability of Dickens's characters is perhaps his greatest achievement as a writer. Often they are caricatures, but caricatures which capture something which is present in life. Every public school must have its Steerforth, criminal circle its Bill and Nancy, fishing community it Peggoty. These are the characters Dickens puts upon his 'stage'.

I should like to conclude with a passage whose relevance to the theme of this essay is self-evident. Perhaps it is reasonable to suppose that it gives us an insight into Dickens's creative mind as well as Pip's.

'what he did say presented pictures to me, and not mere words. In the excited and exalted state of my brain, I could not think of a place without seeing it, or persons without seeing them. It is impossible to overstate the vividness of these images' ('Great Expectations' Ch. 53.)

Copyright Ian Mackean. Read the full version of this essay at:

http://www.literature-study-online.com/essays/dickens.html

Ian Mackean runs the sites http://www.literature-study-online.com, which features a substantial collection of Resources and Essays, (and where his site on Short Story Writing can also be found,) and http://www.Booksmadeintomovies.com. He is the editor of The Essentials of Literature in English post-1914, ISBN 0340882689, which was published by Hodder Arnold in 2005. When not writing about literature or short story writing he is a keen amateur photographer, and has made a site of his photography at http://www.photo-zen.com

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