This post is by Jack White, regular contributing writer for FineArtViews.  Jack has enjoyed a forty-one year career as a successful fulltime artist and author. He has written for Professional Artist Magazine for 14 years and has six art marketing books published. In 1976 Jack was named the Official Artist of Texas. He has mentored hundreds of artists around the world.  Jack authored six Art Marketing books. The first, “Mystery of Making It”, describes how he taught Mikki to paint and has sold over six million dollars worth of her art. You should submit an article and share your views as a guest author by clicking here. 

Remember this: No one wants to buy art from a starving artist. People want to brag their art was done by someone successful or they bought it at some noted place. They can’t brag of ownership if they purchased the work from a person selling art beside the road holding a sign, “Will trade art for food.” For most, buying art is not a capricious event. It’s a complicated, emotional experience.

People love the snob aspect of art. They love being able to say, “We purchased this stunning piece when we were on vacation in Carmel.” Texas people love to buy art from Santa Fe or Taos so they can brag about where they made the purchase. Art collectors are name droppers.

I should write a book on the psychology of selling. So many mental things come to play in selling art. These apply to artists selling their own work in the tiniest outdoor show all the way to salespeople in the most successful galleries. Pride of ownership is at the top. Let’s face it, there is not much fun in saying, “This poor starving artist looked hungry, so we gave him $20 for his painting.” People want to be proud of their new piece of art.

Early in my career, the famous attorney Percy Forman was given a small piece of mine. A client of his who knew my work saw it stuck in a dark corner of his office and mentioned to Percy, “Wow, you have a Jack White. He’s the Official Artist of Texas.” Percy looked blank; he didn’t have a clue about who I was. Another client had given him the art for beating his murder rap. A year later I spoke at a businessmen’s club in Houston. Percy was there. After I finished he came up, shook my hand and said, “I own one of your paintings. It’s hanging behind my desk.” At that time Percy Forman was the top criminal lawyer in the southwest. Later, I did a portrait of Dick DeGerin, the current top criminal lawyer in Texas. Dick was the attorney for David Koresh of the Waco massacre. Dick told me, “Percy was really proud of his Jack White painting.” Mr. Forman had passed away by the time I did Dick’s portrait.

The bottom line is Mr. Forman thought nothing of my art until he found out I was famous. Then, it became his favorite painting. Had the person told him, “I see you have a Jack White painting. He’s that starving artist peddling his art down on Third Street.” What do you think Mr. Forman would have done with the piece?

There is no crime in being broke. Most of us have been or will be busted if we live long enough. My first year as an artist, I left home many days with two or three dollars and a credit card for gas. I did my best selling with empty pockets.

The most difficult part of selling is to “sell like you are rich” when you have no money. It should be a felony to get caught at trying to make a sale. Yet, when you are broke you have to pretend nothing matters. I can remember my early years being on the road selling art, knowing if I didn’t close a sale my little children wouldn’t eat. Yet, I knew I would not be successful if I got caught being desperate, trying to close the sale. We in the art business walk a fine line, but it’s one that I’ve teetered on a thousand times.

When in a crisis, I step back into a safe mode. I make sure to gain the client’s confidence. I have to bring them to what I call ground level. I want them to feel comfortable calling me Jack and with me addressing them as Jim and Millie. I start talking about their favorite subject. I can hear some of you asking, “How do you know these strangers’ favorite subject?” I know because their favorite subject is the same as 99.9 percent of people. These folks favorite subject was Jim and Millie. The most important name you can drop is the client’s. The most significant thing you can talk about is them. Once you grasp that one simple idea, you are on your way to learning to close sales like you are rich.

The next is to ask editorial questions. An editorial question is one that cannot be answered, YES or NO. When a client walks in your booth/gallery and you ask, “May I help you?” you just blew the sale. This is the worst question you can ask. What if they say, “NO you can’t help me”? They just dismissed you. Or you might ask, “Are you looking to buy some art?” Again they can dismiss you with a simple NO. Never ask a question that can be answered with that one word: NO.

I love to ask, “Where did you park? Where did you learn about the event?” This is a little more risky, “Whose art do you collect?” This question works in a gallery better than an outdoor show. In my case, I love to ask where they are from. Since I’ve traveled extensively, I know a little about a lot of areas. I usually can open a conversation about their area. If I’m lucky, I know a couple of people from their town. Or perhaps the college or some inside story about where they live. This kind of thing is not for everyone. You have to find your comfort zone. Make up your own editorial questions. My number one objective is to get the client to open up and talk about themselves.

These starters work for most but if you are not comfortable, you can find something else to take notice of. For instance, I like to mention, “That’s a beautiful ring, (necklace, handbag, bracelet or vest). Smile at the wife (mistress) and make that statement to the male. For the man, “Those are great boots, shoes, belt or watch.” Believe me, they are wearing the item to be noticed.

One important caveat, men never flirt with the client’s wife. Ladies don’t flutter your eyes at the husband. No matter how badly you need the sale, the mate is off limits. Nothing can kill a sale quicker than you getting caught flirting.

A main rule for salespeople in the art business: If another salesperson is dealing with a client, get out of their way until they ask for your help. It’s a sign of desperation for an extra salesperson to get in the conversation. The client feels like they are in a used car lot and being doubled up on. Their first reaction is to RUN!

Have you ever herded cattle, goats or sheep? What about ducks? If you want them to go into a pen you push a little from the rear, while at the same time working inward from the left and right. You continue to squeeze them into a tunnel and then through the gate. This is the secret of good editorial questions. A good lawyer asks questions that continue to narrow the escape route. He never asks questions that can dismiss him with a yes or no. Ask enough good questions and there will come a time when the client has no defense. This may sound like hard selling, but it’s not. The client puts the pressure on themselves. You are just asking questions and waiting for them to answer.

New Orleans Saints Quarterback Drew Breeze throws thousands of practice passes to be ready for making fifty attempts in a game. He probably throws 500 practice footballs for every one thrown in a game. I’ve written dozens of editorial questions on a yellow pad. If the question didn’t look powerful enough, I’d rework it. I practiced selling any spare moment I had. Like a Broadway actor, I rehearsed my lines. I did a lot of driving early in my career. I spent the time on the road working on editorial questions. For instance, I’d imagine a situation where I could see the client was interested in a piece. My editorial question to ask would be, “Where are you thinking of hanging this painting?” Note, I assumed they were interested. Much of selling is assumptive. Another strong close, “How do you want me to personalize your painting?” I do this with a pen in one hand and the art in the other. I wait for them to answer. No one ever listened themselves out of a sale. We can ask, “How do you want to pay for this, check or credit card?” Then wait for the buyer to answer.

I just assume they want to buy. I keep assuming until they prove me wrong. Assumptive selling goes hand and glove with asking editorial questions. When I close the sale, I’m assuming they are going to buy.

There is no real selling involved until the client says NO. When they reject your offer, that’s when the selling starts. You change and sell from a different angle. Many men can feel the rejection he got from his wife the first time he asked her to marry him. He knew by her saying NO he still had some selling to do.

Listen to the client and they will tell you what it will take to sell them. The wife or husband will let something slip, giving you important clues. Perhaps she will say, “I’m not sure the colors match our drapes.” The husband can mumble, “It looks too large for our dining room.” If you are listening you will get those clues. To overcome objections you first have to know what they are concerned with.

The real selling doesn’t begin until the client starts to walk out. They all have a few tricks to use to escape. One of the pet methods these days is asking, “May I put this one on hold?”

My answer to this question, “Certainly. I’ll need a good faith deposit, what amount would be comfortable for you?” If the client gives you a deposit you have a sale. When they don’t, then your chances are slim to none that they will even return. They are using the “on hold” as way to gracefully escape.

Do you have a business card? This is also a favorite escape mechanism. Give a client your business card and you just gave them permission to leave. A better way to deal with the card issue is ask, “Jim and Millie, I know you love this piece of art. What do I need to do to help you take the piece home?” Your job is to listen for their answer. Don’t say a word. The first person to speak loses. I’ve seen strong men break out in sweat when an editorial question like this is asked. Continue to smile and slightly nod your head, up and down, while waiting for them to respond. It may seem like an hour. Sometimes the man will answer truthfully, “Jack, that’s a little more money than we were thinking about.”

I would answer, “How much can you make as a down payment?”

He asked, “What do you have in mind?”

“I’m going to let you guys tell me what you can afford. You can make monthly payments in the amount you are happy with so you take the art home and begin enjoying the happiness. You set up your payment schedule.”

There have been times this down payment bought food for my kids. We do the same with Mikki’s art and knock on wood; we have never lost a dime.

Here are some things to absolutely never say even if they are true:

I can use the money.

I’m a starving artist.

I’m a beginner.

I’m an emerging artist.

I’m broke.

I need to make a sale.

Things are slow so you can have this for half price.

The danger is making a slip and letting your client know how important this one sale is to you. The moment the client smells fear, he’s gone. The client wants buying art to be an exceptional experience. The best thing you can do is act like you don’t need the money. Even if you want to fall on your knees and beg them to buy, resist the temptation. Make a silent vow today, “I’m selling the next person.” You can do it. Take a deep breath and relax. Just SELL like you are RICH.

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The Jack White art marketing books can be purchased at Barnes & Nobel.com, Amazon.com, lulu.com or jackwhiteartist.com 

Hardcopy or download.