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no voice objections? No Thanks!


During the sales negotiations, one of the most delicate phases of management and often complicated by the sellers is that of overcoming objections.

When the prospect shows a disagreement, a different opinion or a question on the proposal, often the seller is likely to jeopardize the success of the sale because you let assaulted by sensations often illogical and dangerous: fear of failure , nervousness, confidence in himself, excess pressure, fear of not be prepared enough, fear that the resistance of the client from turning into a no, and so on.

lives that "resistance" as a challenge and a threat to achieve its objectives, and allow themselves to this negative perception in the course of trattativa.Nella most of the training courses on the subject, explains how to manage Technically the objections, identifying the main reasons and explaining what are the most effective way to transform the desire for resistance acquisto.Ma (deepens as the undisputed Gitomer in his "The Little Red Book of the Great Seller") no management technique, as valid, it can be really effective if we focus first and foremost to train those who are the 5 most important ways for a professional vendor:

1. The sense of trust: the belief in yourself (which is necessary to overcome any obstacle to the sale) that can be generated only by your preparation and your previous successes (assuming you do not confuse confidence with arrogance!)
2. The sense of victory, in reality all (or almost) want to win, but not all succeed. And this happens because the will to prepare to win must be stronger than the will to win;
3. The sense of determination: is activated when the customer says "no" and instead you hear "not yet";
4. The sense of success: what makes you alive (mentally and emotionally) the feeling you feel when you finished your last sale, and you ... is craving to try the exact same feeling even now.
5. The sense of success: what helps you imagine the victory even before it has been in his pocket.

So before you practice any technique for overcoming objections, first stopped to think: which of these you still need to develop well? On what you have to train and strengthen them? What Instead you have to completely capture?

And while you are looking for your answer I urge you to make use of the most important sense for us all, and sellers do not: common sense!

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Heavy Rain is a video game.

(Louise Brown)

I find Heavy Rain an extremely interesting and exciting to experience the film writing. It 'obvious that this is not affatto di un film, eppure la tanto sbandierata definizione di Film Interattivo che si porta dietro è probabilmente uno dei più diffusi - e comprensibili - equivoci epistemologici di cui è caratterizzato. Heavy Rain viola una fondante assoluta del cinema, ossia la direzione univoca dello svolgimento narrativo stabilita a monte. Il cinema non è composto da svariati segmenti narrativi secondo l’abilità gestuale dell’utente. Per quanto i piani di lettura siano polivalenti, un film è testo predeterminato. Chiamare quindi “film” un testo che invece è determinato dagli input che un utente invia ad un “lettore” che li elabora (Playstation3), è abbastanza lezioso.

Quantic Dream, Heavy Rain developer, states that it is not advisable to go over their choices, once made, leaving to run the various episodes of the plot until its final. From this point of view, Heavy Rain could be considered as a mixture of various "chapters" that unfold according to the decisions of the user. Many users, many movies.

But a film that proceeds according to the press certain buttons in time should not be based on the ability to crush them. Especially when the control is sometimes vague and not perfectly calibrated to affect a narrative segment, and consequently the entire development of the plot.

Several times I wanted to "recharge" a sequence because I did not felt appropriate to have a character to death just because you press the correct button has appeared on the screen at the last minute. This problem, then I realized, was due to the hard disk to access the Playstation, which "charged" scene in "streaming" late, creating a latency unexplained fatal. Sometimes however, I slipped a finger on the wrong button pad, thus interrupting the input signal that caused the success of the scene.

There is no relationship logica tra abilità gestuale e sviluppo narrativo. Pretestuoso sarebbe credere di potersi sentire ugualmente responsabili di un certo evento scriptato quando è stato determinato da un errore del sistema di gioco. Mai si è visto un film appagare meglio chi ha dita più lunghe, sottili e articolate rispetto a chi ha mani corte, grandi e tozze. Tale discriminante fisica non può e non deve penalizzare il godimento ludico. 

Di contro, dopo aver stabilito la paradossalità di considerare Heavy Rain un film, è con altrettanta paradossalità che si deve affermare quanto sia ciò che più si avvicina alla definizione letterale di Videogioco: un giocare with the pure video image.

The interaction is not orthodox, but is the most logical gaming entertainment offered by the PlayStation 3 and its related control interfaces may arise. Given the artistic ambition of certain result would be more congenial to a Nintendo Wii in HD. But waiting for Playstation Move, we must be content.

Heavy Rain In the "press buttons" and the gestural movement of DualShock3 Sixaxis technology determine the outcome of an action film, a cut-scene. In its center is hotter then Heavy Rain for most part of a sort of dazzling laser game, the first motive is the pleasure of pressing the right button (also playfully relevant), but try the enjoyment of film writing in line with the gestural user input. The culmination of this process is achieved in a few moments of transition between scenes and predetermined interaction. The mimicry between action and cut scenes is refined to perfection, a work that often masquerade fade ends up deceiving the player: I'm moving the character or going alone?

You could almost say that the user holds a Heavy Rain pseudo-ruolo di regista o di un non meglio precisato sceneggiatore. E questa è di per sé un bella prospettiva.

L’esperimento che ne consegue va assolutamente vissuto, vista anche la determinazione con la quale Quantic Dream si è ostinata a voler ridefinire alcune idiosincrasie tra cinema e videogioco. Se poi si giunge alla fine del viaggio sentendosi più spettatori che videogiocatori, non ha alcuna importanza.

Heavy Rain suscita emozioni sincere, toccanti.

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Più d’ogni altra cosa, è questo che alla fine conta.

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Death to the Games: Special Tribute to Everyeye.it

(dli Luigi Marrone)

Nicolò Pellegatta ha da poco pubblicato sul portale Everyeye.it un articolo di cui al titolo sopra.

Trattazione polivalente, corredata di alcune mie citazioni e consigli di lettura per un approccio ancora più accademico, Pellegatta sviscera con approccio serio e deciso alcune delle problematiche più diffuse che gravitano attorno alla questione morte nei/dei videogiochi.

Di seguito un breve estratto.

"All' interno del colorito mondo videoludico la Death is never final. Defeat is always accompanied by three ellipses and a sharp point and never again.

Most of the games are trying to accomplish the task of promoting the time spent in the company and never debase it (on pain of termination of the lucrative contract with the developers).

But the question is impossible to reach a certain death is a serious affair, with seemingly unassailable and irrefutable.

(...)

The concept of death in games is different from the death of video games, and even the distinction should not be explained: it is certain that the defeat and the demise (temporary) of a digital character can be connected to the to a general impoverishment and flattening of the sense of challenge in the challenges posed to the player. "

To read complete article click here .
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