The name placard in your cube might not say anything about sales, but the truth is that everyone, employed as such or not, is a salesperson at some point every single day. In the traditional sense, this could mean something like pitching your company’s solutions to a client. In the less-traditional sense, it could mean convincing your child to eat their vegetables. Yet for those two drastically different examples and everything in between, there is a constant for successful sellers: unveiling the “Why.”

Spending time and energy making prospects understand why you do what you do instead of exactly what it is you do or how you do it is not a new concept. But I’m a firm believer that proven concepts, no matter how old and frequently referenced they are, can’t be repeated enough. This idea has recently and fervently been popularized by marketer, author, and thinker extraordinaire Simon Sinek via his 2009 book, Start With Why. You can learn about him here on Wikipedia or here on his site. To begin, let me suggest that you watch Sinek’s TED talk on Starting With Why here on YouTube before reading any further. I’ll let him take care of the bulk of explaining the basics, and then will offer some ideas of my own to back this up in the real world and explore the best ways to start thinking this way and apply it to your business.

First, a little on me. After all, if I were to practice what Sinek preaches, it would follow that I explain why it is I’m writing this piece so that you, the reader, not only have a good reason to pay attention but also understand what drives me on a deeper level. So, who am I? I’m an entrepreneur in the music space. I do freelance work in the realms of copywriting, business development, and marketing for artists and industry / music-tech folks, but my main project is doing all of the above for a project I’ve been on the team for since day one called Presskit.to. In short, Presskit.to builds digital portfolios that artists of all kinds can use to represent themselves professionally when pitching their projects to gatekeepers like label reps, casting directors, managers, the press, etc. This core technology is also applicable to larger entertainment industry businesses and fine arts education institutions in enterprise formats, and solves a variety of the problems they’re facing.

Not interesting? I don’t blame you for thinking so, if you did. That’s because I just gave you a bland overview of what we do, instead of why we do it. What if, instead, I told you that myself and everyone I work with is an artist of some sort and believes that the most important thing you can do in life is create; that our technology exists to make creators’ careers more easily sustainable. Or, another approach, that we think the world is a better place when artists can make more art, and that because our technology was built to help artists win more business, we’re trying our best to do our part. Only you can be the judge, but I think that sort of pitch is more compelling. It touches on the emotions responsible for decision making that Sinek outlines in his Ted Talk, rather than the practical language-based reasons like pricing, technicalities, how everything works to accomplish given goals, etc. These things are on the outside of the golden circle Sinek shows us for a reason – they only really matter if you’ve aligned your beliefs with a client’s first. Otherwise these kind of tidbits are gobbledygook, and mind-numbingly boring gobbledygook at that.

Back in the late 90's, there were a number of computer scienctists claiming to know java in hopes of landing a job for $80k+/year.  In fact, I know a woman you did just that:  land a project management position with a large telecom and have no experience whatsoever.  I guess the company figured that some talent was better than no talent and that, with some time and training, she would be productive.  Like all gravey train stories, that one, too, had an end.  After only a year, she was given a pink slip.

Not only are those days over, job prospects for the IT professional have become considerably more demanding.  Saying you know java today is like saying you know that you have expertise with the computer mouse; that's nice, but what else can you do.   This demand can be attributed to an increase in global competition along with the introduction of a number of varied technologies.   Take .NET, Python, Ruby, Spring, Hibernate ... as an example;  most of them, along with many others, are the backbone of the IT infrastructure of most mid-to-large scale US corporations.  Imagine the difficulty in finding the right mix of experience, knowledge and talent to support, maintain and devlop with such desparate technologies.

Well imagine no more.  According to the IT Hiring Index and Skills Report, seventy percent of CIO’s said it's challenging to find skilled professionals today.  If we add the rapid rate of technological innovation into the mix of factors affecting more businesses now than ever before, it’s understandable that the skill gap is widening.  Consider this as well:  the economic downturn has forced many potential retires to remain in the workforce.  This is detailed in MetLife's annual Study of Employee Benefits which states that“more than one-third of surveyed Baby Boomers (35%) say that as a result of economic conditions they plan to postpone their retirement.”  How then does the corporation hire new, more informed/better educated talent?    Indeed, the IT skills gap is ever widening.

In order to compensate for these skill discrepencies, many firms have resorted to hire the ideal candidates by demanding they possess a christmas wish list of expertise in a variety of different IT disciplines.  It would not be uncommon that such individuals have a strong programming background and are brilliant DBA's.  What about training?  That is certainly a way to diminish the skills gap.

I remember the day like it was yesterday. Pac Man had finally arrived on the Atari 2600.  It was a clear and sunny day, but it was slightly brisk. My dad drove us down to the video store about three miles from our Michigan house. If I remember correctly, the price for the game was $24.99.  It was quite expensive for the day, probably equaling a $70 game in today’s market, but it was mine. There *was* no question about it. If you purchase a game, it’s your game… right?

You couldn’t be more wrong.  With all the licensing agreements in games today, you only purchase the right to play it. You don’t actually “own” the game. 

Today, game designers want total control over the money that comes in for a game. They add in clauses that keep the game from being resold, rented, borrowed, copied, etc. All of the content in the game, including the items you find that are specifically for you, are owned by the software developer. Why, you ask, do they do this? It’s all about the money.

This need for greed started years ago, when people started modifying current games on the market. One of the first games like this was Doom. There were so many third part mods made, but because of licensing agreement, none of these versions were available for resale. The end user, or you, had to purchase Doom before they could even install the mod.  None of these “modders” were allowed to make any money off their creation.