Certain Success by Norval A. Hawkins

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[Sidenote: Short Words]

A long word or phrase may convey your idea clearly, but _force_ is lost
in the drawn-out process. Remember that your _words_ will meet the
intuitive resistance of the other man's mind before they are admitted to
his full belief. You cannot afford to sacrifice the driving-in power of
the _short_ word. Therefore, when your opinion is asked, it will be
better salesmanship to say, "I think" so and so than "It is my
impression--"

[Sidenote: Definite Words]

The _definite_ word conveys a _particular meaning_ to the mind of the
other man, not merely a vague or general idea. Never say, when you apply
for a position, "I can do anything." That tells the prospective employer
simply _nothing_ about your ability. Particularize.

[Sidenote: Vivid Words]

It is of the utmost importance to make _vivid impressions_ with your
speech. You should employ words skillfully to produce in the mind of the
other man _distinct and lifelike_ mental images. He may not credit the
words themselves, taken literally and alone. But he will believe in _the
pictures the words paint in his mind_; because he will think he himself
is the mental artist. He will not be suspicious of his own work. If you
apply for a situation in a bank, and the cashier seeks to learn whether
or not you are safely conservative in your views, you can suggest in
vivid words that you have the qualification he requires. You will make
the desired impression if you say to him, "I always carry an umbrella
when it looks like rain."

[Sidenote: Tone Meanings]

Our analysis of the three means of self-expression turns now to _tones_.
Rightly selected words are tremendously augmented in selling power when
they are _rightly spoken_. Most men employ but a small part of their
complete tonal equipment, and are ignorant of the _full sales value_ of
the portion they use. The master salesman, however, practices the gamut
of his natural tones, and utilizes each to produce particular effects.
Thus he supplements his mere statements with _suggestive shades of
meaning_. The _way_ he says a thing has more effect than the words
themselves.

Conversely tone _faults_ may have a disastrous effect on one's chances
to succeed. For illustration, ideas of mind, of feeling, and of power
can be correctly expressed by the discriminative use of particular
_pitches_ of tone. But a wrong pitch, though the words employed might be
identical, would convey a directly opposite and false impression.

[Sidenote: Mental Pitch]

Suppose you are appealing only to the _mind_ of your prospective
employer--as when you quote figures to him--you should restrict your
tone temporarily to the mental pitch. You are just conveying facts now.
Therefore the "matter-of-fact" tone best suits the ideas expressed.
Since it fits what you are saying, the way you speak impresses the other
man with the suggestion that _your tone and words are consistent_.
Therefore his mind has no inclination to resist the mental pitch on this
occasion. He admits your figures to his conscious belief more readily
than he would credit them if spoken in an emotive or power tone. Such
tone pitches would strike him as out of place in a mere statement of
fact.

[Sidenote: Tone Faults]

If your prospective employer asks how old you are, and how many years of
experience you have had, and you reply in a tone vibrant with emotion or
in a deep tone of sternness, the wrong pitch certainly will make a bad
impression on him. By employing an inconsistent pitch when stating
facts, you might "queer" your chances for the position you most desire.
The tone fault in your salesmanship would lie about your real character.
The man addressed would think you were foolish to use such a pitch in
merely imparting a bit of _information_ to his mind. He would expect you
to employ for _that_ purpose simply a _head_ tone, not a chest tone nor
an abdominal tone. The head tone, when used to convey matters of _fact_,
aids in convincing the _mind_ of the other man because _it is the pitch
that fits bare facts_--the tone of pure mentality.

[Sidenote: When Mental Tone Should Be Used]

This mental, or head tone, is most effective in gaining _attention_, in
conveying _information_, in arousing the _perceptive faculties_ of
another mind. _Restrict its use to these purposes only._ The mental tone
is not pleasing to the ear. It is pitched high. It suggests arguments
and disputes. It is the provocative tone of quarrels. So it should be
employed most carefully, with every precaution against giving offense by
its _insistence_.

Avoid its use for long at a time. Its very monotony is apt to irritate.
The high pitch suggests a mental challenge to the mind of the other man,
and hence arouses his mental tendency to opposition. The unskillful
_over-use_ of head tones may ruin a salesman's best opportunity to gain
a coveted object.

There are times, however, when it is necessary that you should
insist--briefly. If you do so _artistically_, and do not persist in the
high, mental, rasping tone; but change to the lower, emotive, chest tone
very soon after your insistence on the other man's attention, you will
not hurt your chances. It is the _continued_ use of the head tone that
is to be avoided.

[Sidenote: Emotive Pitch]

The _emotive_ (chest or heart) pitch dissipates opposition as naturally
as the mind tone provokes a quarrel. Even a hot argument can be ended
without any lasting ill-feeling if the disputants conclude with hearty
expressions of good will for one another. The same words spoken in head
tones would increase the antagonism by suggesting sarcasm or
insincerity. The resonant chest tone suggests that it comes from the
speaker's heart. The _hearer's_ heart makes _his_ mind believe the heart
message conveyed by the emotional pitch of the other man's voice.

Therefore if you want your ideas to penetrate a man's _heart_, don't aim
your tone _high_ at his head. _Lower_ it to the pitch of true
friendliness, of comradeship, of human brotherhood. Aim at _his_ breast
with _your_ breast tone. Do not fawn or plead, however, when selling
ideas of yourself. You can persuade best by suggesting that you have
brought all your manhood to render the other man a real service. This
suggestion will induce a feeling of _respect_ for you, which will
certainly be followed by willingness of the prospect to let you show him
you are able "to deliver the goods."

[Sidenote: Danger of Over-using Head Tone]

Some people suggest by the over-use of head tones that they depend
altogether on what they _know_ to achieve success. They make the
impression that they expect their high degree of _mentality_ to open
chances for them to succeed. "They know they know" their business; so
when they secure opportunities to demonstrate their capabilities, they
emphasize too much what they _know_. They are apt to use the mental tone
continually. Perhaps the prospective employer needs a man of exactly
such knowledge as is possessed by the candidate he is interviewing. But
if when presenting his qualifications the applicant rasps the ears of
his hearer for a long time with high-pitched head tones, the listener
intuitively becomes prejudiced. He is impressed with the suggestion that
the speaker is a "know-it-all" fellow. The employer is likely to turn
down his application because of the unskilled tone pitch in which it is
made.

[Sidenote: Sing-Song Parrot Talk]

When a man has talked glibly and fast about superior qualifications he
knows he possesses, it dazes him if his exceptional capabilities fail to
win him the job for which he is particularly fitted. He cannot
comprehend why another applicant who plainly is not so well qualified
should be chosen. But his voice has suggested to the employer that
everything he said was just "parrot talk." Thousands of bright "parrots"
remain failures all their lives for no other reason than their utter
inability to get inside the _hearts_ of other men. The ordinary
canvasser who trudges from house to house with his "sing-song" patter
has grown into the bad habit of using head tones almost exclusively. As
a natural reflex of the unpleasant impression he makes with his voice,
it is a common experience to have a door slammed in his face.

[Sidenote: Getting Around Mental Barrier]

The master salesman comprehends that the _mentality_ of a prospect is a
barrier to his _emotional_ expression. That is, the mind is an alert
sentinel on guard to protect the _heart_ from its own impulses to
unthinking action. So the skillful salesman when making his "approach"
_goes around_ the mind side of the prospect to the emotional side, where
there is no hostile guard. He knows that "the hearts of all men are
akin," and that "the hardest heart has soft spots." He realizes it is
bad salesmanship to challenge the sentinel mind of the prospect in a
mental tone. So the salesman artist makes _his_ tone resonant with chest
vibrations that stimulate the direct response of the _other_ man's
heart. _He works at first to draw out fellow feeling, not to drive his
ideas into the head of the prospect._

[Sidenote: Talking Like a Brother]

The mere presentation of _thoughts_, or _mental pictures_ of goods, is
not enough to induce a prospect to buy. The master salesman comprehends
that he has to deal with the _dual personality_ of the individual he
plans to sell. Therefore from the very beginning of his interview he
works to open the mind of the other man by first establishing a unity of
human feeling between his own heart and the heart of his prospect. He
uses the _emotive_ tone. He "talks like a brother." Of course he is
careful not to exaggerate this show of fellow feeling. He uses a
"hearty" tone without appearing in the least degree hypocritical. When
their _hearts_ are in accord, the other man is prepared to agree
_mentally_ with the salesman.

[Sidenote: Power Pitch]

The third pitch of your voice as a salesman is the _power_ tone. It can
be used skillfully to suggest that you have the force required to
succeed. It is the pitch that comes from deep down and that calls into
play the powerful abdominal muscles. It is not necessarily a loud tone,
however. Often it is low, with a suggestion of immense reserve strength
behind it. With the power pitch you can _command_ in a simple request
which, spoken in a higher tone, might be refused because it would lack
the suggestion of force. In order to succeed, you sometimes must employ
power. When a situation requires a demonstration of your strong
personality, augment the force of your words and acts by using the tone
pitch that suggests the power of the big muscles of your waist.

[Sidenote: When to Use Power Tone]

Employ the emotive tone to convey ideas of your truthfulness and honor.
Show your courtesy and kindness with the heart pitch; use it to manifest
your real desire to be of service to your prospect. But suggest your
solidity and capacity for good judgment by employing the pitch of power.
With its aid you can convince your prospect of the enduring quality of
your best characteristics; you can deny disparagement or doubt of your
ability; you will be able to brush aside unfounded objections; you can
compel respect.

[Sidenote: Tone Units]

The discriminative use of various _units_ of tone is as helpful in
making suggestive impressions as is the employment of character pitches.
The one-tone voice does not augment the force of words. "Yes" said with
but one tonal unit is not nearly so powerful as "Y-es" in two tones, the
second pitched low. A two-tone "Y-es" with the second unit high-pitched
suggests the very opposite of plain "Yes." It implies "No," or a
question instead of an affirmation. Sometimes it is advisable to suggest
"No" when the word itself if spoken bluntly would give offense. You can
convey the idea of skepticism or denial by using two tone units
skillfully pitched in saying "Y-es."

While you ordinarily can double the effectiveness of your tone by using
two units, and you may treble the effect if you employ three (as in the
exclamation A-ha-a!), if you attempted to use more than three units of
tone in any ordinary circumstances you would be likely to appear odd or
fantastic, if not foolish. So be careful not to over-do the employment
of multiple tone units to stress your meaning.

[Sidenote: Placing Tones]

There is selling value, too, in the _placing_ of tones in your mouth. A
tone placed far forward indicates lack of thought and instability. It is
the tone we associate with "lip judgments." On the contrary, hidden
thoughts, unwillingness to tell all you know, are suggested by tones
placed far back in your mouth. The middle-of-the-mouth tone makes the
impression that the voice is properly balanced, and suggests the
associated idea of mind balance. Avoid the extremes in placing your
tones, if you would make certain of the most effective use of your voice
in selling ideas. Convince and persuade by employing the secure,
trustworthy tone of the "happy medium."

[Sidenote: Bad Habits]

_Undoubtedly you have little bad habits that tell lies about
you_--habits in the use of words, habits of tone, and especially habits
of action. When you fully understand the significance of _what_ you say,
and of _how_ you say it, and of the things you _do_--the effects
produced on other men--you will _start changing your bad characteristics
into good factors_ that will certainly help you to succeed. So study
yourself most carefully, in order to learn what your habits are, and
their meanings.

[Sidenote: Significance Of Movements]

Ordinarily a man is conscious of his words and tones, but he often
_does_ things unconsciously. Probably you realize only vaguely or not at
all just what your various _actions_ suggest to people who observe you.
Therefore it is of the greatest importance that you study the
significance of _discriminated movements, gestures, and facial
expressions_ as aids or hindrances to the making of true impressions of
your best capabilities. You should _restrict yourself to acts that make
the best impressions._

Movements, and their results, may be analyzed under three heads: _Poise,
Pose_, and _Action_.

[Sidenote: Poise]

It is a phenomenon of psychology that the balancing of the body suggests
mental balance. Conversely, if the body is out of balance, there is the
suggestion that the mind is no better poised. That is, if a man cannot
keep his balance physically, we have an intuition that he is mentally
off his equilibrium. Correct poise of course involves correct body
support, and suggests a rightly supported mind. _Hence you can make the
impression, merely by the way you stand and walk, that you are a person
of well-poised judgment_. You may hurt your chances very much if it
seems necessary for you to prop your body with your legs. The man who
stands with his feet wide apart is out of balance, and is easily tipped
over. The impression made by the incorrect poise is that such a man must
be unable to stand by himself like normal men. The law of the
association of ideas then immediately suggests that his thoughts are
similarly unable to stand unless propped.

Incorrect poise of the body has another bad effect in the sale of ideas.
It makes the impression of _abnormality_. Being unusual, it distracts
attention from the salesman and his capabilities, and turns it to his
lack of balance. You realize that in order to sell your ideas
effectively you need the _concentrated attention_ of your prospect. It
will help you to succeed in life if you perfect yourself in the
skillful poising of your body and its members so that you will be able
to appear perfectly balanced in any normal position.

If you teeter from side to side, or rock back and forth on your heels
when you are talking to a man whom you want to impress with your
stability of character, you will undermine everything you _say_ by what
you _do_. Of course you should not stand stiffly. Your leg posts are
designed to serve as a flexible pedestal for your body. Your ability to
shift your weight from one foot to the other easily without losing your
balance suggests associated capability of your mind to keep your
judgment in balance. If you have a correctly poised mind, it _can_
balance your body.

[Sidenote: Pose]

The _poses_ of your body, too, are suggestive of ideas about your mental
make-up. The quiet pose aids in making impressions of the qualities of
solidity of purpose, of calmness, of confidence, etc. The active pose is
suggestive of enthusiasm, force, hustling, and the like. Your pose
should be suited to the vocation you have chosen. In a bank, for
instance, the quiet pose of assured efficiency perfectly suits the
atmosphere of safety and security. In a factory, on the other hand, you
are likely to make a better impression with a much more active pose that
matches the energy and speed of manufacturing operations.

You should not, however, take any pose as a _pretense_. Whatever poses
you employ to augment the things you say should be used as _means for
the better communication of truth, not to falsify_ in any degree. And
you will need to be extremely careful lest you over-do a particular pose
and suggest affectation. Doubtless you have characteristic poses.
Analyze yourself. _Determine what your habits of pose mean to other
people_. Then make such changes in your characteristic poses as will
signify only the best traits you have.

[Sidenote: Action]

Next we will make a brief study of _actions_ from four viewpoints.

First, the _lines_ of action;

Second, the _directions_ of action;

Third, the _planes_ of action;

Fourth, the _tension_ or the _laxity_ of action.

[Sidenote: Lines of Action]

All movements are in straight, single curved, or multiple curved _lines
of action_. Each of these classes of movements creates a _particular
impression_ when it is perceived--an impression very different from that
produced by movements of either of the other classes. It will help you
greatly in your ambition to succeed if you understand the _exact
significance_ of your every action along the various lines, and if you
employ intelligently the right movements to suggest the particular ideas
you wish to convey.

The straight gesture always indicates an appeal to mentality. Use it to
aim ideas at the other man's _mind_.

The single curve, or wave movement, invariably denotes feeling. Employ
it to reach into the breast of the other man and influence his _heart_.

The gesture of double curves signifies power. It should be employed to
_dominate_ both the mind and actions of the prospect--to _make_ him
_think_ and _do_ the things you will.

[Sidenote: Directions Of Actions]

The different _directions_ of actions also suggest various ideas. Your
selling purpose is to get ideas over from your mind to the mind of the
other man. It is especially important that the direction of your
gestures should conform to your sales intention. Every movement you make
to aid your purpose should suggest your mental action _toward_ the
prospect, or _away from_ yourself. It should signify that you are taking
something out of your mind and offering it to his. Of course you don't
_break into_ his head with your idea and force him to receive it. You
just bring it to the front porch of his mind. Then, if you have been
skillful in your salesmanship, _he_ will open the door of interest after
_you_ ring the bell of attention, and will permit your idea to enter his
thoughts. But he is unlikely to admit it unless by some indication
_from_ you _to_ him he knows what is expected of him.

If you gesture toward yourself when expressing your thoughts, you do not
suggest to the other man that he take in your ideas. Instead you
concentrate his attention on your selfishness and your individual
opinion. The characteristic gestures of the typical old peddler are
displeasing because they are made in the wrong _direction_. He holds his
arms close to his body and gesticulates toward himself. He makes the
impression that he does not have your interest at heart in the least,
but only his own.

[Sidenote: Affirmation And Denial]

An up-and-down movement suggests something standing. It has the
associated significance of vitality or life. Conversely, a side-to-side
gesture suggests similarity to things lying down, lack of vitality, or
the death of ideas. By holding yourself erect you make a very different
impression of your energy than would be made were you to lean to one
side. You can affirm a statement by an up-and-down movement of your hand
or by a nod of your head. You deny suggestively with a horizontal
gesture or by shaking your head from side to side.

[Sidenote: Levels of Action]

The significance of action on different _planes_ or _levels_ is seldom
appreciated. The level of eye action is of especial importance in
suggesting particular ideas.

When you look another person in the eye, you convey to him the idea of
direct mental energy. You suggest the straight action of your mind in
team-work with his. Your eye action on the same level indicates to him
that you are thinking on the _practical_ plane.

[Sidenote: Lifting Prospect's Thoughts]

But if your eyes repeatedly focus above the level of the other man's
eyes, you make the impression that you are an _idealist_ rather than a
practical person. What you say will not seem to him to apply directly to
his case. He will not feel the personal, or man-to-man contact of your
thoughts. Sometimes, however, it is important to lift your eyes when
talking to a prospect, in order to suggest that he lift his thoughts
from the level of mere selfishness. By your suggestive eye action on the
upper plane you may stimulate in him a higher vision of possibilities or
an insight into the future, if he seems inclined to take a strictly
practical view of his present needs only.

When you look below the eye level of the other man, you indicate (1)
modesty, if the movement is directly down; (2) shame, if the movement is
a little to one side and downward; (3) disgust, if your eyes look far
down and far to the side.

[Sidenote: Tensity and Laxness]

The _tensity_ or _laxness_ of your muscles when you are in the presence
of a prospect will suggest to him very diverse ideas. Both tensity and
laxity of muscles can be used to good effect in selling. Your muscles
should appear somewhat tense when you are _presenting_ ideas, in order
to make the impression that your mind is fully active. Conversely, by
normal relaxation of your muscles when you are _listening_, you suggest
the receptivity of your mind and your entire readiness to take in ideas
from outside. When you show your muscles are relaxed, you also indicate
that you are perfectly at ease and unafraid of objections or criticism.
If you were to sit tense under criticism, you would suggest that you
felt the necessity of fighting back. But you disarm disparagement of
your capabilities when you appear entirely at ease while you listen.

[Sidenote: Introduction To Study of Sales Art]

The brief outline in this chapter of fundamental principles of selling
_skill_, and of the methods by which ideas may be conveyed through
artistic suggestion, is just an introduction to your study and
comprehension of the successive steps of salesmanship practice which are
to be analyzed in the remaining chapters of this book. The limitations
of our present space have made it impossible to do more than summarize
here the chief factors of art in selling ideas. You will need to master
the remainder of the book in order to amplify and to apply most
effectively in practice the general principles and methods that have
been outlined.

Surely you now are convinced that skill in selling is not a vague
mystery, not a natural gift, not something impossible for _you_ to
attain. Every element of sales art can be analyzed in detail. You are
learning _exactly how_ to sell the true ideas of your best capability.
Practice of what you learn will perfect your salesmanship.

[Sidenote: Success Certain]

There is absolutely no doubt that you can master the right principles
and methods. By continual practice you surely can become skillful in
their daily use. When you make yourself adept in the art, you
_certainly_ will be able to sell your particular qualifications
successfully.

CHAPTER IV

_Preparing to Make Your Success Certain_

[Sidenote: Be Ready When Your Chance Comes]

Thousands of men have failed in life because they were not ready when
their best chances for success came. Some of these golden opportunities
slipped away unrecognized. Others, though perceived, could not be
grasped. The men to whom they were presented had not prepared to hold
and use such chances whenever they might arrive.

_If you would make your success a certainty, you must get all ready for
it in advance_. Then you will not be taken unawares when you find your
big chance. If you are thoroughly prepared, you will sight it quickly,
realize its full value, and seize it with complete confidence in your
ability to make the most of it.

Before you seek it, be sure of your entire readiness for the opportunity
you especially want. You can much better afford to wait a little while
for _certain_ success than to rush, unready, into the field of your
choice, risking the likelihood of failure that could be guarded against
by intelligent preparation to succeed.

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