Pitch Imperfect: Making the Best of a Flawed Process

The  most  important  thing  about  a  point  of  view  is  to  have  one.  

Star%ng  with  a  Rant  Borrowing  liberally  from  Winston  Churchill’s  observa<on  on  democracy,  I  believe  that  pitching  is  the  worst  part  of  the  agency  selec<on  process  except  for  all  others  that  have  been  tried.  Pitching  is  now  entrenched  and  to  those  on  either  side  of  the  table,  a  necessary  evil.  Both  agency  and  client  have  issues  with  the  process  including:    

The  expense  and  <me  it  takes.  I  have  been  involved  in  contests  cos<ng  hundreds  of  thousands  of  dollars  to  the  agency  and  taken  more  than  nine  months  for  a  decision    Most   agencies   hate   to   pitch.   Anyone  who   enjoys   hanging   their   fate   on   a   ninety-­‐minute   presenta<on   is  deluded.  The  ini<al  euphoria  of  being  invited  to  pitch  is  tempered  by  the  effort  involved  and  actual  chances  of  success    The   process   is   subjec<ve.   Provoke   Insights   found   that   47%   of   agencies   surveyed  were   dissa<sfied  with  decisions  that  were  arguably  subjec<ve  and  betrayed  the  agreed-­‐to  scoring  system      New  seems  beNer.  Agencies  rally  the  troops  for  the  allure  of  gaining  a  new  client  and  that  oOen  comes  at  the  expense  of  exis<ng  clients  

 The  industry  has  created  a  treadmill  of  pitching  it  cannot  get  off.  In  the  beginning  it  was  an  innova<ve  method  of  assessing  if  agency  and  client  could  work  together  and  to  demonstrate  how  the  agency  solves  problems.  That  was  laudable  but  now  these  events  take  place  in  a  bubble  crea<ng  an  ar<ficial  atmosphere  seldom  reflec<ng  reality.  As  a  proxy  for  an  authen<c  rela<onship,  the  pitch  process  definitely  falls  short.    My  biggest  complaint  is  the  process  is  tedious  and  unoriginal  and  that  means  the  results  are  tedious  and  unoriginal.  Its  length,  number  of  agencies  in  the  caNle  call,  consensus  needed  to  make  a  decision,  scads  of  paperwork,  lack  of  access  to  decision  makers,  procurement  pressure,  and  the  use  of  search  consultants  all  now  add  up  to  a  healthy  tax  on  both  agencies  and  clients.    

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It  surprised  me  that  I  actually  took  this  on  as  a  topic.  Not  because  I  lack  a  point-­‐of-­‐view  or  have  limited  experience  but   rather  because  so  much  has  been  wriNen  on   the   subject.   I   feared  adding  more  of   the   same.  To  be  clear,   this  paper   provides   no  magic   panacea   or   regurgita<on   of   the   basic   checklist   for   pitching.   It   takes   a   fresh   look   at   the  challenge  by  sugges<ng  you  pitch  keeping  in  mind  three  categories  cri<cal  to  successful  pitching:  

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what  you  have  to  do  or  be  penalized  

what  you  have  to  do  to  stand  out  

what  you  have  to  do  to  influence  the  

decision  

Let  me  share  the  big  secret.  That  is,  there  really  is  no  secret  to  winning  at  pitching.  Winning  always  comes  down  to  chemistry.   This   was   supported   in   a   survey   of   search   consultants   who   broker   between   adver<sing   agencies   and  prospec<ve  clients  in  the  selec<on  process.  96%  of  those  surveyed  iden<fied  chemistry  as  the  key  factor  in  winning  (I  think   the   other   4%  mistakenly   <cked   the  wrong   box).   Unfortunately,   the   pitch   process   does   liNle   to   truly   assess  chemistry,  fit  and  compa<ble  values.      We  all  hope  we  will  never  have  to  pitch  again.  We  want  our  brand  to  qualify  us  to  such  an  extent  that  we  are  sole  sourced.  Yet,  even  the  top  branding  firms  in  the  world  pitch  because  there  is  not  enough  measurable  differen<a<on  in  their  own  branding  for  a  client  to  base  a  decision.  To  be  fair,  most  clients  needs  to  seek  mul<ple  quotes  so  sole  sourcing  is  rare  and  ge\ng  rarer.  So  un<l  we  find  an  alterna<ve  approach  to  new  business  pitches,  we  have  to  do  them  to  the  best  of  our  ability.  Let’s  get  started.  

What  You  Have  to  Do  or  Be  Penalized  Over  the   last   twenty  years  what  were  once  differen<ators   for  agencies  are  now  the  basic  price  of  entry.  We  owe  much   of   this   to   the   pitch   process   itself.   It   has   been   fantas<c   at   revealing   and   spreading   everyone’s   strategies,  approaches,  and  well,  tricks.  This  does  not  mean  agencies  can  avoid  delivering  the  basics.  Here  are  the  boNom-­‐line  expecta<ons  that  must  be  met.    Follow  Instruc<ons  It   sounds   cool   to   break   the   rules   to   be   different.   However,   the   client   provided   instruc<ons   for   a   reason.  Many  agencies  think  that  devia<ng  is  a  demonstra<on  of  crea<vity  but  such  an  approach  is  a  clear  risk.  On  a  recent  pitch  in  Europe,  I  assisted  an  agency  who  was  in  the  running  for  a  global  rebranding  engagement.  We  discussed  interes<ng  ways  of  impressing  in  our  approach.      We   followed   the   spirit   of   the   brief   but   gave   the   client   a   great   deal   to   chew   on   when   it   came   to   a   pay-­‐for-­‐performance  model.  It  was  strategic,  it  was  smart  and  it  could  have  provided  interes<ng  mutual  benefit.  However,  this  made   it  more  difficult   for   them,  making  an  apples-­‐to-­‐apples  comparison   impossible.   It  did  not  harm  us  but   it  sure  did  not  help.    Defining  Meaningful  Roles  Years  ago  while  working  on  a  project  for  DeloiNe  I  was  introduced  to  the  term  “L.I.G.A.M”.  It  means  “least  important  guy  (or  gal)  at  mee<ng”.  You  never  want  to  be  LIGAM  for  the  sake  of  your  own  posi<oning.  In  a  pitch,  anyone  not  playing   a  meaningful   and   ac<ve   role   is  more   than   superfluous,   they   demonstrate   a   blatant   disregard   for   project  management  and  costs.  Only  assign  and  bring  resources  that  truly  make  a  contribu<on  as  clients  take  note.  

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Go  Jargon-­‐Free  Marketers   love   to   use   big,   expensive   sounding  words  oOen  to  overcome  insecuri<es  for  the  value  they   offer.   Language   that   is   clear,   concise   and  compelling   is   the  only   language  of  marke<ng  and  it  should  be  demonstrated  in  a  pitch.  A  consultant  of  any  type  is  paid  to  break  down  the  complex  and  get   to   its   essence.   So   do   not   take   ten   slides   to  explain  “strategic,  digitally-­‐informed  non-­‐intrusive  market   penetra<on”   when   “growing   new  revenue”  would  do.    Be  the  Brand  For   six   years   I  was   Chief   Communica<ons  Officer  at  DDB  Worldwide.   This   is   a   storied  brand   in   the  industry   that  must   con<nually  make   all   that   rich,  proud   history   relevant   and   current.   We   are   all  measured   by   the   company   we   keep   and   clients  enjoy  tou<ng  their  professional  rela<onships.  This  is   not   a   ques<on   of   old   and   big   agencies   being  more   desired   over   others.   I   have   met   Chief  Marke<ng   Officers   with   big   budgets   and  aspira<ons  who  prefer  working  with  ‘upstarts  and  underdogs’.   It   comes   down   to   pride,   fit   and  commitment  from  both  sides.    I   have   seen   countless   situa<ons   where   the   pitch  prepara<on  conversa<on  boils  down  to,  “it   is  not  about  us,   it   is   about   the  client.   Let’s   kill   all   those  slides   about   us.”   I   agree,   kill   the   slides   but   don’t  kill   the  pride.  Present  and  exude  your  compelling  creden<als   and   (hopefully)   dis<nct   agency  posi<oning  throughout  the  pitch.    

“Let’s  kill  all  those  slides  about  us.”  

Build  Chemistry  Blocks  If  it  all  boils  down  to  chemistry  then  bringing  the  right  people  to  the  table  lights  the  Bunsen  burner.  In  recent  rounds  of  qualifica<on  I  have  seen  clients  really  scru<nize  the  team  members  and  backgrounds  of  those  individuals  assigned.  This  is   damn   smart.   Years   ago   I   was   grilled   by   Coca-­‐Cola   as   a   member   of   the   consul<ng   team   proposed   by   Price  Waterhouse.  This  was  not  intrusive  or  insul<ng,  it  made  great  business  sense.    It   is   no   secret   that   consultants   and   agencies   are   less   than   perfect   in   staffing   client   teams.   OOen   those   buying  professional  services  have  been  on  both  sides  of  the  table  and  are  ge\ng  more  adept  and  less  forgiving  at  “bait  and  switches”,   the  assignment  of   junior   resources,  and  those   lacking   industry  depth.  Fit  and  chemistry  are   two  different  things  and  you  need  both.    Hype  Execu<onal  Excellence  The  three  categories  making  up  this  paper  are  not  en<rely  cut  and  dried.  This  point  on  execu<onal  excellence  could  easily  go  in  the  next  sec<on  dealing  with  ways  to  stand  out  (think  of  it  as  being  in  both).      If   the   client   is   smart   they  will   ask   you   two   ques<ons:   “can   you   get   this   done?”   and   “can   you   get   this   done   in   our  culture?”  These  are  two  very  different  ques<ons.  The  first  shows  you  know  your  stuff  while  the  second  acknowledges  the  intangible  and  the  unknown.  It  comes  down  to  execu<on  so  show  prospec<ve  clients,  really  show  them,  through  cases   and   tes<monials   that   you   can   take   away  problems   and   capture   opportuni<es   and  have  done   so   in   variety   of  industries,  businesses  and  cultures.  

If  the  client  is  smart  they  will  ask  you  two  ques<ons:    

“can  you  get  this  done?”  “can  you  get  this  done  in  our  culture?”    

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What  you  have  to  do  to  stand  out  In  this  category  there  is  so  much  going  on.  To  win  you  have  to  listen  and  recognize  that  there  are  always  two  agendas,  one  is  the  stated  agenda  and  the  other  is  way  more  important.  And  remember  that  passion  goes  a  long,  long  way.    Find  the  Real  Agenda  Too  many  agencies  hear  what  they  want  to  hear  and  end  up  barely  mee<ng  expecta<ons.  The  most  successful  pitches  uncover  the  client's  unwriNen  brief.  Teams  that  ask  the  right  ques<ons  can  uncover   it.   I  have  seen  rebranding  briefs  which   are  more   about   cosme<cs   than   revenue   growth   and   adver<sing   briefs   that   are   shortsighted   and   short-­‐term  represen<ng  an  internal  power  struggle  more  than  market  awareness.  These  insights  are  the  upper  hand.  Any  solu<on  or  pitch   that  meets   these  nuanced  needs   is   relevant  and  will   resonate.   It   shows   that  you  know  what   they  are   really  buying  because  clients  buy  for  their  reasons,  not  yours.    Make  the  People  Connec<ons  We   too   oOen   forget   that   on   the   client   side   there   are   people   taking   a   risk   professionally   on   every   sizable   project.  Authen<cally  and  honestly,  we  need  to  discover  each  person’s  pain  points  and  empathize  with  them  in  meaningful  and  concrete  ways.  When  you  show  you  get  it,  that  is  the  start  of  a  real  rela<onship.      Be  Passionate  or  Take  a  Pass  The  right  team  should  be  passionate  for  the  client’s  business,  industry,  situa<on  and  people.  It  sounds  trite  but  passion  sells.  Not  faked  passion  (“we  are  so  excited  about  working  with  you”)  but  real,  undeniable  enthusiasm.  Passion  can  be  contagious.  In  some  situa<ons,  passion  can  even  trump  talent  (but  do  not  stack  your  team  that  way!).  Passion  draws  people  in  so  send  your  most  fiery  and  fervent  folks  or  take  a  pass.  

‘Show’  a  Story  All  pitches  are  theater.  All  should  tell  a  story.  The  most  memorable  pitches  show  that  story  and  prove  it  crea<vely.  We  have  all  heard   impressive   tales  of  agencies  building   supermarket  aisles,   retail   stores  or   rolling   in  a  prospec<ve  client’s  automobile  to  create  theater.  One  very  famous  story  has  been  mistakenly  aNributed  to  Saatchi  &  Saatchi  but  it  was  Allen  Brady  &  Marsh  (ABM)  who  won  the  Bri<sh  Rail  account  in  a  very  innova<ve  way.    Execu<ves  of  Bri<sh  Rail  arrived  at  ABM  for  the  pitch.  An  uninterested  recep<onist,  filing  her  nails,  made  them  wait  in  the  foyer.   The   room  was  made   up   of   coffee-­‐stained   tables,   overflowing   ashtrays   and   no   chairs.   Time   passed   and   nobody  came  to  greet  them.  Furious  at  this  shoddy  treatment,  the  Bri<sh  Rail  team  began  to  leave  in  a  shared  fury  when  Peter  Marsh  and  his  team  appeared.  "That  is  how  the  public  sees  BR,"  Marsh  told  them.  "Now  let's  see  what  we  can  do  to  put  it  right."      The  fact  is,  99%  of  pitches  take  place  in  a  boardroom  with  a  screen  and  a  couple  of  flipcharts  but  that  should  not  rob  a  pitch  of  solid  storytelling.   It  means  pu\ng  yourself   in  the  client’s  shoes.  No  one   likes  to  be  sold  or  told  anything.  Your  pitch  must  employ  facts,  cases  and  examples  to  lead  the  client  through  your  logic  and  method  of  problem  solving.  When  this  is  done  right,  they  will  arrive  at  your  conclusion  before  you  do  and  feel  a  part  of  it.      We  also  need  to  remember  that  while  agencies  pitch  oOen  it  is  an  unusual  event  for  the  prospec<ve  client.  They  want  to  be  entertained  but  they  also  want  to  get  to  the  point.  Make  your  story  rich,  compelling  and  relevant  but  get  to  it  without  excessive  preamble.  Make  it  a  movie  without  the  ads  and  trailers.  

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what  you  have  to  do  or  be  penalized  

what  you  have  to  do  to  stand  out  

what  you  have  to  do  to  influence  the  

decision  

follow  instruc<ons    

define  meaningful  roles    

go  jargon-­‐free    

be  the  brand    

build  chemistry  blocks  

 hype  execu<onal  

excellence  

find  the  real  agenda    

make  the  people  connec<ons  

 be  passionate  or  

take  a  pass    

‘show’  a  story    

stress  account  management  

 showcase  industry  

experience    

claim  what  is  uniquely  yours  

 be  adaptable  not  

pliable    

leave  a  reminder  

listen  carefully    

give  a  reason  to  believe  

 give  a  reason  to  buy  

 ask  for  the  business  

and  mean  it  

three  categories  cri<cal  to  successful  pitching  

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Stress  Account  Management  Strategic  thinking  and  colorful  crea<ve  is  always  sexy  but  there  is  a  very  tangible  way  to  stand  out  that  few  agencies  feature.   One   of   the   most   essen<al   components   of   a   successful   client   and   agency   rela<onship   is   brilliant   account  management.   I   recommend  not  only   showing   the   slide  with   the  organiza<onal   chart   of   your   team  but   take  <me   to  speak   of   your   account   management   and   have   the   account   people   talk   about   their   profession.   Stress   account  management  in  the  pitch  because  it  will  certainly  be  stressed-­‐out  when  you  win.    Showcase  Industry  Exper<se  Clients  are  not  interested  in  taking  <me  to  acclima<ze  agencies,  they  want  someone  to  come  in  and  start  running.  It  is  no  longer  about  claiming  some  vague  connec<on  to,  let’s  say,  retail.  Agencies  now  have  to  clearly  demonstrate  a  range  of  knowledge   that  may   include  command  of   consumer   insights,   regulatory   issues,  pop-­‐up  stores,   labor   laws,   just-­‐in-­‐<me  merchandizing,  digital  coupons  and  so  much  more.  Smart  clients  demand  industry  depth  so  it  is  important  to  get  out  ahead  and  prove  you  pass  the  test.    Claim  What  is  Uniquely  Yours  True  differen<a<on  amongst  branding  firms,  ad  agencies,  marke<ng  services  and  other  crea<ve  businesses  is  thin.  Any  claims   of   difference   are   quickly   copied   but   if   your   agency   has   something   proprietary   then   highlight   its   relevance.  Unique  methodologies,   technology,   research,   and  partnerships   are   credible   examples   of   investments   that   prospects  will  appreciate.  While  heading  marke<ng  at  Interbrand,  we  ensured  we  owned  the  measurement  of  brands  given  our  investment   in  a  proprietary  methodology.  This  manifested   itself   in  The  Best  Global  Brands  Report   that   spun  off   into  industry,  topics  and  country-­‐specific  edi<ons.  Interbrand’s  marke<ng  s<ll  leads  with  this  differen<ator.    Be  Adaptable  Not  Pliable  It  is  a  fine  line  in  business.  We  want  to  show  we  have  convic<ons  and  will  not  stray  from  them.  At  the  same  <me  we  must   adapt   to   each   new   rela<onship   and   situa<on.   Clients   respect   adaptability   but   they   do   want   pushovers.   This  recogni<on  of  adaptable  but  never  pliable  should  be  demonstrated  throughout  the  pitch  process.  

Clients  are  not  interested  in  taking  <me  to  acclima<ze  agencies,  they  want  someone  to  come  in  and  start  running.    

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Leave  a  Reminder  This   is   not   a   new   insight   but   the   good   old   ‘leave-­‐behind’  works.  AOer   listening  to  seven  or  eight  agencies  over   two  or   three   days,   clients   forget   the   content.  Make   sure   you  leave   a   copy   of   everything   that   was   presented,   either  electronically,   via   an  e-­‐mail   link   to   a  microsite,   or   in  hard  copy.  Go  further  if  the  process  and  rules  allow.  Mandi  Lin,  Art  Director  at  Goodby  Dilverstein  and  Partners,  shares  one  stand  out  leave-­‐behind  story.    “We   were   pitching   Sonic   Drive-­‐in.   In   order   to   leave   an  impression  to  the  client,  we  sent  out  a  very  crea<ve  leave  behind   box.   Sonic   is   all   about   dining   in   the   car,   so   we  created   the   whole   dining   experience.   The   box   was  made  with  metal  and   looked   like   the  back  of   the  car.   Inside   the  box,   there   were   the   presenta<on   deck   made   with   red  leather  cover,   the  custom-­‐made  glove  for  grabbing  greasy  food,  the  map  with  all  the  sonic  loca<ons,  “Sonic  on  board”  car  magnet,  USB  key  with  all  our  digital  deck,  and  the  car-­‐freshner   with   the   smell   of   the   hot   dog   and   tater   tots.   I  worked  closely  with  the  vendor  to  design  everything  from  scratch.”  Mandi’s  example  is  fun,  different  and  relevant.  

What  you  have  to  do  to  influence  the  decision  It   is   important  to  remember  but  as   fancy  as  the  pitch  process   is,   it   is  selling.  So  many  agencies  are  afraid  (or  do  not  know  how)  to  sell  and  that  means  they  control  liNle  of  their  own  des<ny.    Listen  Carefully  Think  about  the  people  you  like  and  trust.  They  are  oOen  people  who  listen  to  your  problems,  ask  ques<ons  about  your  life  and  offer  sugges<on  and  advice.  They  are  not  ones  to  yak  on  and  on  non-­‐stop  when  you  ask  them  a  ques<on.  The  best  salespeople  tune  in  because  they  are  trying  to  understand  the  true  needs  of  the  client.      We  know  that  listening  is  integral  through  the  en<re  agency  selec<on  process  and  in  the  pitch.  Yet  too  oOen,  a  mixture  of  pressure  and  adrenaline  has  us  go  in  with  our  own  <ght  agenda  while  s<cking  to  a  rigid  script.  Paul  Boross  offers  a  solu<on  in  his  book,  The  Pitching  Bible.  He  suggests  that  you  don’t  plan  for  what  you  want  to  say,  plan  for  what  you  want  the  audience  to  do,  so  rather  than  spending  <me  rehearsing  your  words,  spend  <me  rehearsing  the  result  you  want  to  achieve.  This  works  and  I  guarantee  you  will  change  the  tradi<onal  way  you  are  probably  pitching  today.  

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Give  a  Reason  to  Believe  Prospec<ve  clients  sit  in  judgment  of  each  pitch  or  stage  of  pitch.  In  front  of  them  is  a  formal  and  informal  scorecard.  By  <me  of  the  final  pitch  they  are  fa<gued.  The  last  long  one  I  was  involved  in  ini<ally  selected  16  agencies  through  a  Request   for   Informa<on.  They  narrowed   it  down  to  8  based  on  return  of  creden<als,  6  were  then  chosen  based  on  chemistry  from  ini<al  mee<ngs  (I  thought  they  should  have  willowed  further),  3  for  the  final  pitch,  and  then  one  final  successful  agency.  The  length  of  this  process  can  actually  work  against  all  agencies.      That   is   why   it   is   important   to   give   the   client   a   reason   to   believe   at   each  mee<ng.   This  means   being   progressively  enthusias<c,  fresh  in  perspec<ve  and  offer  new  insights.  This  will  give  them  a  reason  to  believe  in  you,  your  team,  and  your   agency.   Providing   a   reason   to   believe   can   also   be   thema<c   and   run   throughout   the   selec<on   process.   A   B2B  focused  agency  pitched  soOware  security  company  McAfee  and  used  a  play  on  the  company’s  tagline,  “You  Live  Your  Digital  Life.  We  Keep  It  Secure.”  Thye  posi<oned  their  en<re  pitch  as,  “You  deliver  security.  We  bring  it  to  life.”  Corny,  perhaps,  but  it  was  memorable  and  relevant.    Give  a  Reason  to  Buy  Pitches  are  about  chemistry  and  the  start  of  a  (hopefully)  long  rela<onship.  They  are  also  ar<ficial.  They  mask  the  fact  that  it  is  s<ll  a  transac<on,  a  sale.  That  means  you  have  to  give  the  client  a  reason  to  buy  at  each  stage.  You  have  to  bundle  your  differen<ators,  highlight  the  tangibles  and  package  them  all  convincingly.  This  works  best  when  you  focus  on  benefits  &  outcomes,  not   solu<ons.  At   this   stage   in   the  process,   clients  want  you   to   focus  on   the  ends,  not   the  means.  Describe  what  you  will  accomplish  for  their  customers,  not  how  you  get  them  there.      Agencies  have  egos.  They  forget  that  no  client  is  hiring  an  ad  agency  for  adver<sing  nor  a  marke<ng  consultancy  simply  because   they  want   to,   they  want  more   sales.   So   sell   sales,   talk   about   that   outcome   and  what   it   can  mean   for   the  client’s  customer’s  business  or  life.  How  you  demonstrate  this  is  the  best  reason  you  can  give  a  client  to  buy  because  a  sale  is  not  something  you  pursue;  it  is  what  happens  while  you  are  already  immersed  in  serving  the  client.    Ask  for  the  Business  and  Mean  It  The  eminently  quotable,  David  Ogilvy,  may  have  said   it  best,  “In   the  modern  world  of  business,   it   is  useless   to  be  a  crea<ve  original   thinker   unless   you   can   also   sell  what   you   create.  Management   cannot   be   expected   to   recognize   a  good  idea  unless  it  is  presented  to  them  by  a  good  salesman.”    The   pitch   process   is   a   sale  wrapped   in   suspect   inten<ons   and   sprinkled  with   ar<ficial   rela<onship   sprinkles   (that   is  probably  one  of   the  weirdest   sentences   I   have  ever  wriNen).  What   I   am  aNemp<ng   to   communicate   is   though   the  agency  selec<on  process  is  refined  and  professional,  it  is  no  different  than  any  other  sale.      One  of  the  biggest  lessons  in  sales  is  to  ask  for  the  business.  Too  many  agencies  assume  they  present  well  and  have  impressed.  Then  they  wait  for  the  results.  The  smart  ones  ask  pointedly  for  the  sale   just   like  a  smart  serving  person  asks,  “What  drink  can  I  get  you?”  versus  “Can  I  get  you  a  drink?”  See  the  difference?  

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Wrapping  Up  with  Another  Rant  Casey   Stengel   of   baseball   fame   was   nicknamed   "The   Old   Perfessor".   He   was   both   player   and   manager   with   priceless  observa<ons  on  the  game  and  life.  Two  of  my  favorites  are,  “There  comes  a  <me  in  every  man's  life,  and  I've  had  plenty  of  them.”  and  “They  say  some  of  my  stars  drink  whiskey,  but  I  have  found  that  ones  who  drink  milkshakes  don't  win  many  ball  games.”    More  relevant  to  this  paper  is  his  line,  “Most  games  are  lost,  not  won.”  That  is  absolutely  true  in  the  case  of  pitching.  You  may   not   win   every   <me   but   you   will   avoid   losing   more   than   your   fair   share   by   knowing   what   you   have   to   do   or   be  penalized,  what  you  have  to  do  to  stand  out,  and  what  you  have  to  do  to  influence  the  decision.  

Jeff  Swystun  President  and    

Chief  Marke<ng  Officer  416.471.4655  

Author’s  Note  Pitching  is  here  to  stay  but  one  way  to  improve  your  business  development   is   to  develop  a  smart  go-­‐to-­‐market  strategy.  By  targe<ng   your   most   relevant   and   desired   clients,   you   may  avoid  the  pitch  process  or  at  least  set  yourself  up  to  stand  out  more   when   that   pitch   rolls   around.   Please   check   out   our  paper,   The  Missing  Middle   of  Marke<ng,   on   how   to   do   this  right.  

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