WSU alumna Jocelyn K. Allen, aka @TheExecuDiva, shares career advice at PRSSA awards luncheon

The large Gothic window of St. Andrew's Hall casts a welcoming light
over the PR Alumni and Student Recognition Luncheon. (Photo by Denise Vultee)

The Customer Journey Map: A GPS system for lean branding

As a former writing teacher, I'm well aware that the process of creating is every bit as important as the final product.  So when I read books aimed at helping fledgling entrepreneurs--which I've been doing a lot lately--I'm often drawn to the parts where the authors talk about processes that unfold over time. Recently, I ran across a process-oriented tool, the Customer Journey Map, that struck me as a useful way for entrepreneurs to think about their relationship with customers.

In her book Lean Branding: Creating Dynamic Brands to Generate Conversion, Laura Busche writes, "We are in the business of taking customers from A to B, where A is who they are today and B is who they want to be tomorrow" (p. 25). The Customer Journey Map is Busche's model of that process.

She points out the obvious but sometimes overlooked fact that a customer's product experience goes through three stages: pre-purchase, purchase, and post-purchase.

• Pre-purchase: During the pre-purchase stage, when consumers are deciding whether or not to buy a product, a company has two important tasks: first, making consumers aware that it exists; and second, showing customers how it differs from the competition.

• Purchase: In the purchase stage, a company needs to make the consumer's decision to buy its product as simple and rewarding as possible.

• Post-purchase: In the post-purchase stage, a company must be responsive to consumers' need to communicate about the product. It's important to deliver on pre-purchase promises and help consumers integrate the product smoothly into their lives, in order to reinforce their conviction that they made the right decision and to avoid cognitive dissonance in the form of buyer remorse.

These three stages are "brand touchpoints" that entrepreneurs can use to their advantage. Throughout all three stages, brand message (story), brand visualization (symbol), and brand communication strategies (channels) are critical; but they play different roles in each stage.

The Customer Journey Map is just one piece in Busch's thorough treatment of what she calls the "Build-Measure-Learn" process of branding.  Her pithy advice resonates with me, partly because it tends to emphasize not only process but story, and I'm a big believer in the narrative paradigm.

At this writing I am still in the process of reading Busch's book.  I've learned a lot from it so far, and I recommend it for anyone who is starting a new business (or trying to rebrand an existing one).

Emerging WSU arts entrepreneurs pitch their business plans

There were plenty of sweaty palms in our FPC 5010 class yesterday, and not just because of the sunny, 70-degree weather.

It was Shark Tank day.

As the final project of the special topics course on Entrepreneurship and Art, students from the College of Fine, Performing, and Communication Arts pitched their business plans to a panel of three judges: Gary Shields, an instructor in the School of Business Administration; and Rula Aoun and Chris Banarian, attorneys with the Wayne Law Group.

The students' ideas ran the gamut of creative ventures, including a graphic design service, a nonprofit photography camp for children with cancer, a theatrical set design service, a Web-hosting tech startup, a music venue, an after-school program, and a photographic studio specializing in cloning.

And then there was my own idea for Ovenbird, LLC, a multimedia company focusing on publications and products that support the handmade lifestyle.  I described my plans for launching "Garnished with Pixels," a food blog with a focus on traditional Midwestern comfort food and midcentury vintage kitchenware.

The takeaway

I learned a lot from the experience. For starters, the cute aqua and coral SignPainter HouseScript font I used in my PowerPoint failed to show up on the classroom computer, reminding me that I face a steep learning curve in the design and tech pieces of my business.

And it turns out I'm not very good at following my own advice as a public speaking teacher: My presentation ran over the time limit, and I missed the opportunity to spike my slide show with photos of yummy comfort food--something that might have tipped the balance in a real-life Shark Tank scenario.

There was a lot of synergy in the room:  In more than one case, one startup's strengths offered a potential solution to another's weakness.

The judges offered valuable advice--not only feedback on our individual plans, but also warnings about potential pitfalls for businesses of all types. Shields, who teaches entrepreneurship in the Department of Management, emphasized the importance of doing a break-even analysis. Both Shields and Banarian encouraged us to take advantage of Blackstone Launchpad.

By the way, for classmates who are still working on the engagement log, BLP is hosting one more networking event this semester: 6-8 p.m. on Wednesday, April 22, at Traffic Jam & Snug.

I've got the horse right here: Ponyride gives Detroit businesses room to grow

Emily of Anthology coffee shop, one of Ponyride's many tenants. The power outage kept us from sampling the coffee, but the beans smelled great. (Photo by Denise Vultee)

"The power is out."

Emily, the barista, called out the warning as we walked through the doors of Anthology, a coffee shop on the first floor of Ponyride. Our Entrepreneurship and Art class was meeting there to tour the 30,000-square-foot industrial building in Detroit's Corktown neighborhood that serves as an incubator for local artisans and entrepreneurs.

Minding/mining the gap

But although the building's electricity was not working today, another kind of power was evident. As our guide led us through the maze of workshops, studios, and office spaces that make up Ponyride, we heard story after story about chance encounters between tenants that sparked new ideas, which in turn led to bigger things.

This larger-than-life mural decorates a wall of the dance studio.  For an idea of the scale, notice the bench in the corner. (Photo by Denise Vultee)

This is the kind of synergy that can happen when people with highly diverse backgrounds and training find themselves working shoulder to shoulder.

Social network analysts point to the advantages of being the one person positioned to serve as a bridge across the knowledge gap between two "clusters." In her recent book The Creator's Code, Amy Wilkinson calls people who transport ideas in this way "Sunbirds," and she counts their ability to identify such gaps as one of "the six essential skills of extraordinary entrepreneurs."

At Ponyride, it happens every day.

Clothing designers, metalsmiths, woodworkers, dancers, and other creative entrepreneurs share both space and ideas. The nominal rent of 50 cents a square foot keeps the building completely occupied.

Meet the artisans

At one point in the tour, our guide, who sported an impressive red beard, produced a tin of Beardbalm from his pocket--then showed us the Harry-Potter-sized cubbyhole under the stairs where it's made.

Metal utensils forged in the Smithshop. The studio is also restoring the iron balcony of a historic Detroit building. (Photo by Denise Vultee)

At the other end of the scale, we toured the Smithshop metalworking studio, where artisans create products ranging from delicate jewelry and kitchen utensils to massive architectural pieces.


We had an opportunity to chat with some of the entrepreneurs along the way, including Chris Morris of The Dirt Label, which now has a brick-and-mortar store in Royal Oak.

Others talked about more recently launched ventures, such as Belrauch Handy Oil, an eco-friendly household lubricant. Everyone we spoke with was clearly passionate about their work.

Despite the loss of electricity, the large windows in many of the studios allowed us document our trip in photos. Beyond those windows, in stark contrast to the creative energy inside, loomed a vacant eight-story concrete warehouse surrounded by concertina wire: the kind of building many who don't live in the city still associate with Detroit, and a silent reminder of the challenges facing projects like Ponyride and other revitalization efforts.

TechTown shares startup advice with WSU students

Detroit's TechTown, at 440 Burroughs, provides space and resources for entrepreneurs in the community. (Photo: Andrew Jameson at en.wikipedia)

If you live in or near Detroit and haven't yet visited TechTown, you should check it out.  It's another example of the cool things Wayne State is doing in the community.  Our Entrepreneurship in the Arts class went there Friday on a field trip (ably documented by classmate Ansar Alim) and learned about the legal ins and outs of starting a business.

Prof. Eric Williams, director of the Program for Entrepreneurship and Business and Law, warned us about the perils of "piercing the corporate veil," entertained us with stories of business names gone horribly wrong, and discussed the difference between copyright and trademark. As often happens with lively class discussions, we also picked up random bits of trivia, such as what those removable, clamp-on table legs are called.

In a more practical vein, I was able to get answers to some specific questions I had about my own fledgling LLC. For example: (1) if you form a new business, you should get a new Employer Identification Number (EIN), even if you had one for a previous business; (2) initial capitalization (in layman's terms, using your own money to finance your startup) is not a taxable event; and (3) you can hire yourself as a contractor.

And as a bonus, I got a chance to enjoy the beautiful, almost-Spring weather as a classmate and I walked  back to campus afterwards.

6 good reasons why artists should work with local nonprofits

When you're starting out as an arts entrepreneur, charitable giving may be low on your list of priorities.  After all, it's hard enough to find the time and money to grow your own business.  Why would you give them away?

This past Friday, I had lunch with my local Inter-club Council, where folks from several dozen nonprofits pitched their upcoming events.  As I enjoyed my egg salad sandwich and listened to the list of concerts, bowl-a-thons, silent auctions, spaghetti dinners, house tours, and other fundraising events, I couldn't help noticing how often the arts were part of the draw.

Here are just a few ways helping others could help your arts business:

• Create name/brand recognition.  This is especially true if you continue to support a particular charity regularly over time.  Your name/brand becomes associated with that cause or event, and people who feel strongly about it will feel good about supporting your business.  

• Show them what you can do.  If you produce tangible art objects, donate a few of your best items to silent auctions.  People will remember and recognize your work at fairs, in galleries, and online when it's time to shop for gifts--especially if you've included a stack of business cards.  If you're a performing artist, volunteer to participate in a benefit concert.  People who enjoy your show will be more likely to buy tickets to your next one.  (You can also sell your CDs and have people put their names on your mailing list.)

• Generate foot traffic.  If you have a brick-and-mortar business, one good way to get people into your store is to donate gift certificates to silent auctions.  If someone pays good money for a $25 certificate, chances are they will make a point of visiting your venue before it expires.  And while they're there, they will probably buy more merchandise than the certificate is worth.  They may even bring along a friend, and they will probably tell others about their experience (so make it a positive one!).

• Network with community leaders.  The people who run charitable organizations are often well connected in their communities.  By meeting them, you could be opening doors to all sorts of unexpected opportunities.  Look for an organization whose mission you're also passionate about, and consider joining and actively participating in it, to the extent that your schedule allows.

• Get a warm, fuzzy feeling.  For better or worse, artists often have a love-hate relationship with money.  Yes, you want to make a living doing what you love (or you wouldn't have started a business), but not at the cost of compromising your principles.  Working with nonprofits offers a chance to give back, to make a difference in your community, and to focus on something besides the bottom line.  What's more, you'll have an appreciative audience for your work.

• Save money on advertising.  Rethink the time and money you've budgeted for advertising and move some of it to charitable giving.  After all, which business would you rather patronize--the one whose ad shows up unwanted in your Facebook feed, or the one that's owned and operated by someone you've sold raffle tickets with, someone who shares your passion for helping others, someone you know and trust? 

There's no shortage of good causes out there, and they all could use a hand.  Find one that's a good fit for you, and ask how you can help.

Oh, and if you're looking for a place to let the good times roll on Fat Tuesday, come out to Lily's Seafood in Royal Oak.  I'll be the one in the butterfly mask handing out Mardi Gras beads and selling raffle tickets.

Art, imagination, and Anthropologie

Brushstrokes on canvas dominate this window display at the Anthropologie store in Somerset Mall outside Detroit.  The single outfit is balanced by text that emphasizes aesthetics and values. (Photo by Denise Vultee)

As artist/entrepreneurs, we use our imaginations to envision new works and bring them to life.  The resulting creations are our "products," but they're not just widgets; they're a part of who we are. And it can be frustrating when the public doesn't share our visions or recognize the value of our creations.

We sometimes forget that, often, what our potential clients and customers need is not so much a product as an experience. And the more we can do to create experiences that help them satisfy their own need for creative self-expression, the more they will see the value in what we are offering.

Case in point: Anthropologie.

The consumer as artist

Anthropologie has a reputation for inspiring passionately loyal customers--this despite its high prices, and the fact that handmade and one-of-a-kind items vie for display space with mass-produced Chinese imports.

The obsession, it seems, is mutual: Anthropologie managers can tell you all about their ideal customer, right down to the books she reads and the music she listens to.  They refer to this customer as their "friend," but a better description might be "collaborator" or even "co-creator."

When Anthropologie was founded in 1992, its approach to retailing was distinctively nontraditional, even quirky.  A decade later, designer Ron Pompei recalled:

"We wanted to create an experience that would set up the possibility of change and transformation, where the visitor's imagination was just as important as that of the designer.... People would start to connect the dots in their own way and tell themselves a personal story."

The strategy appears to have paid off: The chain now boasts 187 stores in the U.S., Canada, and the U.K. that are helping to keep its parent company, Urban Outfitters, afloat.

#AnthroWindows

Most recently, Anthropologie's focus on the customer's imagination can be seen in this month's collection of themed window displays, which the brand's official blog describes as "a celebration of late winter’s painterly palette, reimagined as graduated colour wheels, radiant swatches and artist’s studios."

Props like unfinished canvases and vintage tools subtly invite passing shoppers to enter a fantasy world in which they themselves can become artists--or where they can at least get a privileged glimpse into the magical spaces where art takes shapes.

The "painterly" theme continues in a second window, with multiple canvases and a weathered easel flanking a pair of outfits.  (Photo by Denise Vultee)

Shoppers who linger to admire these gorgeous displays will notice the following message, tucked away in the corner and rendered in fonts that mimic hand printing and cursive handwriting:

WHY COLOR? because it makes THE WORLD BIGGER, unveiling all that IS POSSIBLE.  #ANTHROWINDOWS

The implication: All the pretty window dressing is in the service of a much bigger (if vaguer) cause than mere commerce.  And by using the convenient hashtag, shoppers can become part of that cause by sharing their own unique experience of the (highly photogenic) scene in front of them.  (As of this writing, there are more than 3,500 Instagram posts using the "#AnthroWindows" hashtag.)

The takeaway for arts entrepreneurs?  Don't sell a product; sell an experience.  Let your customers do some of the work--especially the work of imagination.

What entrepreneurs can teach artists (and vice versa)

The world of the artist and the world of the entrepreneur are often treated as if they were polar opposites, or even natural enemies. 

Artists, we're told, are supposed to suffer and starve (think Vincent van Gogh); entrepreneurs, on the other hand, are supposed make the other guy suffer and starve (think Gordon Gekko).

In this blog, I'd like to challenge both of these stereotypes by exploring two related propositions:

1. Artists can become more successful by learning to think like entrepreneurs.
2. Entrepreneurs can become more successful by learning to think like artists.

Enterprise-minded artists

The first proposition has been gaining traction in arts education, both in theory and in practice. 

For a number of years now, students in some fine arts programs have been able to take classes in entrepreneurship—like the one I'm currently enrolled in at Wayne State University—alongside printmaking, screenwriting, and choreography. 

The idea is that arming fledgling artists with entrepreneurial skills will improve their odds of making a decent living doing what they love—and what they've spent many years and thousands of dollars training to do.

Arts-minded entrepreneurs

The second proposition—that artists have something valuable to teach entrepreneurs—may be less self-evident.  After all, parents don't usually worry that Johnny won't be able to support himself if he gets through an entire MBA program without taking an art class. 

Yet, expectation plays a central role in entrepreneuring.  And expectation, as the economist G. L. S. Shackle insisted,

is imagination, the originative gift, a gift which burns, if with a more dazzling light, in the thoughts of the poet, the symphonist, the mathematician.

Business students routinely take electives in subjects like sociology and communication, because they know people skills will be an important part of their careers.  It's time to show them—and their advisers—that the ability to think creatively on their feet is at least as valuable.

And who better to do that than the fine arts departments?