The Three Month Vacation Podcast

How do you find a good coach? We've all done courses that have been a waste of time, money and energy. Yet, finding a great coach isn't easy, is it? There doesn't seem to be any way to know in advance how good (or bad) a coach will be. Or is there? There are a few benchmarks that make the difference between average and special coaches. And strangely, your first point of due diligence is located right on the sales page in the testimonial section. In this episode Sean talks about Factor 1: Look for the "End Point" in the testimonials Factor 2: Why you need to focus on the next play Factor 3: The Rollercoaster Design Training System Read it online: Unusual Methods to Find Outstanding Coaches ------- I wanted 200 gm of coffee. The Russian behind the counter was only willing to sell me 50 gm. My idea of a great coffee, was instant coffee, Nescafé to be precise. At which point I was introduced to New Zealand's amazing coffee culture. To improve my coffee taste buds, I first moved to a slightly fancier brand; a Dutch barista-style coffee called Moccona. It consisted of coffee granules in a reasonably sized jar. However, that wasn't enough. My journey to becoming a coffee-snob involved buying a pack of pre-roasted coffee called Gravity. Shortly after, I ran into the Russian. The Russian ran a boutique roasting company not far from my house When I needed coffee, I'd go over and order about 200 gm (about 7 ounces). Until the day he decided not to sell me that quantity. He was only willing to sell me 50 grams (about 2 ounces). "You live close by," he said. "What's the point of buying coffee and letting it oxidise for the whole week? When you're out of coffee, you come back and take the next 50 gm." A good coach is like my Russian coffee "dealer". Good coaches know that you can't consume massive amounts at one go, and so they slow you down so that you get a far deeper, richer experience. Over the years, I've had the luxury of having good coaches. Coaches that take speed up your progress. And there are also the bad coaches, who in their own way, teach you what good coaching is all about. In this series, we'll take a look at how you pick a good coach that moves you forward on the journey from a "Nescafé" to a delicious "brew of excellent coffee". In this series, we'll cover three factors that will help you spot good coaches. Factor 1: Look for the "End Point" in the testimonials Factor 2: Focus on the next play Factor 3: Rollercoaster design Factor 1: Look for the "End Point" in the testimonials If the sky is filled with cirrus clouds, what will the next 24 hours bring? Cirrus clouds are those feather-like clouds you see high up in the sky. In fact they're so high up at 20,000 feet that they're composed exclusively of ice-crystals. But here's an interesting fact: if you see a sky filled with cirrus clouds, you'll get rain and cooler, if not cold weather within the following 24 hours. What's fascinating about this fact is that almost all of us have seen those fairy-like cirrus clouds, because they can cover up to 30% of the Earth's atmosphere at a time. Even so, we've missed the obvious—that rain and cold soon follows. Missing the obvious is something we tend to do a lot when trying to find the right coach—or even the right course to attend—online or offline. And that obvious fact is in the most obvious place of all, in the testimonials. Almost every coach or coaching system will have testimonials, and it's through scanning the testimonials that you're likely to find a lot of incredibly valuable information. But what does a mere testimonial reveal? Here are just some of the things you should look out for in the testimonials. Let's say you joined a class to learn to make sushi. When you finish the class, what would you expect to be able to do? Silly question, isn't it? Almost all of us would "want to make sushi". That's why we joined the class, and that would be the end point, wouldn't it? Which means that as you scanned through the testimonials, you should see row upon row of words talking about how the attendees were able to make flawless sushi. In fact, we'd be a little concerned if we didn't see testimonials with a clear end result. Yet when we sign up for courses, we don't bother to check the fine print of the testimonials Let's say the course makes some bombastic claim like how you can treble your client list in 60 days. Now we know what to look for in the testimonials, don't we? The testimonials should talk about how everyone (yes, everyone) saw a 300% jump in client growth. Instead, you rarely see any talk about 300% growth. Most of the testimonials seem to talk about the amazing quality of the videos, about the stunning modules in the course or how the person conducting the course is a great teacher. Almost none of the clients talk about the fact that their list numbers have gone up 300% or more. And if such a testimonial does sneak in, it's probably just one of the many testimonials that seem to say little or nothing. The reality is that every client should reach a clear "End Point" If you're about to sign up with a coach, your goal is not vague, is it? Which is why if you run into a coaching program, whether it be offline or online, ask to see the testimonials or reviews. Peer carefully through them and you'll find the first clue to locating a coach that's focused on results instead of just another barrage of information and blah-blah. But that's just one of the points to look for, in a good coach. The second is "the focus on the next play". What's the next play all about? Factor 2: Focusing on the "next play" Think of a GPS for a moment and you'll get an idea of how a coach tends to work. A GPS knows your starting point, and knows where you need to go. Yet, at all times, the GPS is tracking where you are. It's focused on your current situation and the the traffic that's building up or easing around you. Good coaches are like walking-talking GPSs themselves They are focused on the next turn, not something that is going to come down the road. They have that end point in mind, but right now the only thing that matters is the next left or right turn; the next play. One of my earliest coaches in New Zealand was Doug Hitchcock Doug was a coach who focused on the next play. He got me to do my goal setting and I wrote down half a million goals. Doug was the one who pulled me back and got me to get the tiny bit done, then the next and the next. "Keep to just three goals", he'd say and then he'd get me to work on the first one. This concept of focusing on the next play is what I use today almost 17 years later. When I write an article, it's not about the article, it's about the stages of the article. First the idea, then the outline, bit by bit, play by play. When I look at projects that I haven't finished, it's because I didn't pay attention to Doug—and every brilliant coach's simple advice—focus on the next play. When looking for a coach look for someone who has a GPS-like functionality And to be like a GPS, that coach can't have too many clients. If you're considering a course where you can't see the number of likely participants, you're probably signing up for just another dose of information. A good coach is likely to have a fixed number of clients, not an endless number. You can't watch the next play of a client if you have 500, 200 or even 50 clients. That's just too much activity for a coach to handle and it's almost certain that many clients will simply slip through the net and not do as well as they hoped to do so. There's a difference between a rally and true coaching You wouldn't send your kid to a class with 200 other students—let alone 50 students. So why sign up for a coaching program like that yourself? If your goal is to hide among the other students, then it's a good strategy. However, if you want to dramatically move forward, find yourself a coach who can help you focus on your very next move. In my early twenties, a good friend of mine taught me to do the dance called the "jive" I wanted desperately to go out and dance well. My parents are great dancers, but that wasn't helping me at all on the dance floor. So great was my desperation that I joined a dance class, but I was just one of many at the class. Many sessions and months later I was no better than before. I have come to realise that the same story plays itself out for the all the classes where I failed. Whether it's photography classes, the Spanish class, watercolours—pretty much every class where I hadn't learned skills was simply because I didn't do my due diligence. In every situation, I was crammed in with others and the only goal of the coach was to get to the "End Point". In every situation, the end point wasn't a clearly defined scenario, but merely a point where the class term ended. It's not like no attention was given to us at all, but it's impossible for a trainer to do what Doug Hitchcock did. Or to get the same level of support that Phelps got from Bob Bowman. Like a GPS, every turn is just as important as the final destination. And good coaches, pay close attention to these points. Even so, a great coach has one more trick up his or her sleeve. It's the system of "rollercoaster design". Factor 3: Rollercoaster Design of Training My first tour of New York was done at a screaming pace. I was with my friend, Mark Levy, Author of "Accidental Genius". Mark is a great guy, but he also wanted to make sure I didn't miss anything in New York. We set out early that morning from New Jersey and went through New York at breakneck speed. I guess I remember the day so very clearly even though it was back in 2004 because it was all go-go-go. A frenzied tour through a city, with no stops, is sometimes the way to go when you want to see all the sights and have little time. However, when you're looking for a coach, one of the main factors to watch for is what can be called the "roller coaster" learning design. So what is the roller coaster design? Even if you've never been on a roller coaster, you know somewhat how it operates. It sets off gingerly, then takes you up slowly and then throws you into a few screaming loops. What's important in roller coaster design is that there's a time to scream and a time to get your breath back. A coach should have "rollercoaster" modules in place when designing a training regime as well. Almost any skill acquisition will have really tough sections Which is why a coach must draw out the sequence of the course in advance. The coach or trainer must intersperse tough tasks throughout the training, but always go back to the easy wins. That way the person being coached doesn't feel like they're on the scream machine all the time. Too much screaming is terrible for learning, but then so is too easy learning. If there isn't a scream session, the roller coaster is not much of a roller coaster. And while not one of us wants to battle it out through a course, there are going to be tougher sections in any sort of training. Sections the coach needs to figure out well in advance. But it's not enough to have the roller coaster alone The training system needs to have some sort of breathing space as well. Let's say you're learning to write articles. The course may start out nice and easy but then run into some difficult concept. Concepts that may need more time, understanding and practice. Is there any leeway in the system or does the coach just barrel through? Is there room for an additional amount of practice? Can the coach take the participants on a detour for a while before getting back to the syllabus again? Most training rarely has any breathing space. Instead, it's just like the NY tour. The coach takes the clients at breakneck speed across from one point to another. And this need for getting mindlessly to the other point has real ramifications You find that people drop out at a high rate simply because they can't cope with the intensity. However, the impact has far greater implications than just dropping out of a course or training. If you drop out of enough Spanish classes, for example, you tend to get the erroneous idea that you were never meant to learn Spanish. Which is when the "give up" sign flashes madly in your rearview mirror. Granted, just putting in the roller coaster design isn't going to solve every problem. Clients can still go off track for many reasons, but having breathing space in terms of "easy assignments" as well as just "breathing space" to catch up, is critical. Which brings us to a crucial juncture about how to do our investigations about coaches It's easy enough to look at the testimonials for any coach. Almost every website will tend to have a string of testimonials that allow you to do your own due diligence. A quick look through the testimonials will clearly tell you whether there's an end point in place. But how do you find out about whether the coach has a next play or some sort of roller coaster design in place? Unfortunately, there's only one way to tell, and that way is to call or email some of the people who you see in the list of testimonials. The best way would be to e-mail them first, then get on the call and ask questions about how the course is conducted. Remember that what works for them won't necessarily work for you. If they became rich, famous or acquired skill, it doesn't mean you'll be bestowed with the same shower of goodness. Which is why you should stick to the questions that involve the structure of the training. The structure is what shows you whether this is just a random run of endless information from start to finish, or instead, a well-thought out, well-executed course. Finding a coach isn't easy. Finding a great coach is a lot harder. However, in a rush to grow our business or improve our skill, it's easy to avoid doing the appropriate amount of due diligence. Or we may simply not know what to look for in a good coach. Many elements mark a good coach, but the easiest way of all is to get to the website and look for the testimonials. Then once you're there, read between the lines and the story of the coach will reveal itself to you. One more thing: don't be afraid to bail out I once went for a community college photography class. No, I didn't do any due diligence. I figured it was just $200 or so for the tuition and I failed to do my homework. In the first session itself, the trainer went off on a tangent. He talked endlessly about his family, and we learned almost nothing about photography. I didn't go back again. My brother in law also signed up for the course with me. There wasn't any way to get a refund, so he continued to go for the rest of the sessions As it turned out, they were all a waste of time. Trainers tend to show their colours very early. Sloppy coaches are sloppy right from the very start. It's a good idea to bail out very quickly and to spend the time doing something else. Even with all the due diligence, you can make an error of judgment. However, once you've figured out your mistake, get out there quickly and use the time to learn something more constructive instead. Next Step: Have a look at—Good to Great: How To Take Your Small Business To Greatness

The biggest problem with article writing is the exhaustion factor. It's write, delete, write, delete and the endless cycle goes on. So how do you go about article writing? Can you really write articles and not get exhausted? In this series you get to see how I went from getting really frustrated, to writing 800 word articles and then 4000 word articles. What's the secret to such an enormous output? And how do you do it without getting exhausted? Let's find out how spacing the writing and the timer play an incredibly important role in writing.

Why do others seem more talented than we are? Is talent innate? Is it just practice? Or is there something else. Incredibly the key to talent is in the way you define talent. Change the definition and you see it in a whole new light. In Part 1 of this episode on talent, you'll see how mere definitions change the way you see the world of talent (and how it can get you talented faster than before).

Envy isn't something we talk about, or even to admit to openly. And yet it's the one thing that all of us feel. We feel that others are going places and doing more than us. We even feel we need their spot and somehow that spot belongs to us. So how do we overcome this intense envy before it kills us? Find out how even the superstars of the world have to deal with envy. Yes, even people who seemingly have unimaginable wealth and success.

The leap may seem physical, but it's mostly mental. In your head you don't know if it's the right time to jump into being an entrepreneur. What about the mortgage, the family and the bills? And how do you deal with the fear? How do you stay steadfast to your vision? And what about focus? These are the questions that spin in your head over and over again. This episode isn't an answer to your question. No one can answer the questions, but you. However, it helps you understand how to keep true to your vision, how to keep your focus in a distracted world. And then, how to take that leap.

Trying to come up with a suitable name for your book or info-product seems like a nightmare. What if you're wrong? What if the name isn't well received? However, there's a way to make your book really stand out. And guess what? It's not the title that matters. It's the sub-title. Find out why we've been tackling things the wrong way and how to get a superb name for your book or information product/course before the day is done.

Most of us know of the concept of the "guardian angel". They come into our lives and they take care of us. The "kicking angel" is quite different. The angel shows up just to push us over the edge and then he/she disappears from our lives. How do we know when we're being kicked? And what "kicks" do we pay attention to and what do we ignore?

Can you really double your sales of a product you've created a while ago? And why are satellite products so very useful to clients and profitable to your info-product business? In this episode we look at info-products as we'd look at a piece of software like Photoshop. Find out the magic that already exists within your info-product and why you don't have to keep crazily searching for newer clients all the time. Read it online: Double Your Sales With Versions and Satellite Products ----------------- Most people have never heard of the Knoll brothers, but they've certainly heard of the program the brothers invented. That program was Photoshop Developed initially in 1987 by Thomas and John Knoll, it wasn't the sophisticated program like the modern version. Back then it wasn't called Photoshop, but was named "Image-Pro". It was only when the Knoll brothers decided to sell the program in 1988 that they changed the name to Photoshop. As the story goes, no one was really interested in the program, except for Adobe. Adobe saw the potential and purchased all the wholesale rights, and by 1990 the first version of Photoshop was released. Today, Photoshop has gone through thousands of changes and 27 versions. Every time a version appeared on the market, two sets of customers bought the product: new clients and existing ones. And in that version history is a lesson for almost all of our information products. Photoshop is no doubt, built by its programmers, but who comes up with endless suggestions for the improvement of the program? A large portion comes from the users themselves. And who buys the newer version of Photoshop? Once again, it's the existing users of the program. Today, Adobe has a subscription model in place, where all upgrades are automatic, but for at least 20+ years, the newer versions of the product were purchased by existing users. A similar concept can be used to sell your own info-products It's not common in the information products world to think of books, videos or courses as they do in the software world. Most information product creators write a book or create a course and it stays in its original format. Yet your target profile is always looking for an improvement. At Psychotactics, we create newer versions of info-products as often as we possibly can. As you're probably aware, the Article Writing Course is now in Version 2.0. So is the First Fifty Words course and The Brain Audit has seen many versions since we first released it in back in 2002. Bear in mind that not all courses or info-products need constant revision, but instead of simply dashing madly into yet another information product, you might want to take a look at how versions will help sell info-products to an existing, as well as new audience. Listening to the target profile can also help you create more in-depth versions of your products Take the Article Writing Course for instance. It's an extremely comprehensive course and clients love it—they really do. At first the course existed as a standalone, but the target profile—or clients, in this case—kept asking for in-depth sub-courses. For instance, writing headlines is already covered in the Article Writing Course, but now we also have a separate eight-week headline course. The opening of the article, or the First Fifty Words as we call it, is also part of the Article Writing Course, but it's also a separate 8-week intensive course. What you're learning from the above example is that even when you have like what seems to be a complete info-product, clients are more than happy to buy in-depth versions of the components of the products. To make this clearer, let's break up the Article Writing Course into components – Headlines – First Fifty Words – Connectors – Subheads – Sandwiching – Objections – And so on. When you look at the list above, every component could possibly become a separate and more detailed information product or course. Some might be shorter, or take up fewer pages in a book, but they all have the propensity to break off from the mother ship called the "Article Writing Course" and become satellites of their own. And clients tend to want more of the same good stuff you're putting out. If you go deeper into the satellite info-products, clients are more than happy to buy into your offering. We know this to be true because of what we see at Psychotactics. A client will do the headlines course and then do the Article Writing Course and possibly the First Fifty Words course. Or they may start with the Article Writing Course and then move to the headlines course. The satellite courses don't cannibalise the main course. And this concept applies to any sort of info-products whether audio, video or text. And you know this to be true because of the music industry At some point, we've all bought music in some shape or form. Some of us may have had the pleasure of buying cassette tapes, CDs, DVDs and then signed up to Spotify, Pandora or Apple Music. The fact that we already have access to all the music we need doesn't stop us from listening to it on the radio or YouTube, for that matter. If the musician rolls into town, we're reasonably likely to pony up anywhere between $100-$500 for concert tickets. In short, all versions and satellite versions work and the client—your target profile—wants you to create updated or at least deeper content on the very same topic. The target profile is a great boon for a business If you have a target audience, you can't really do much. If you have some persona stuff, again you're just stabbing at some made up stuff. However, the moment you have a real client in front of you, you are able to learn so much more, because a real client speaks, complains, gives feedback and yes, buys your info-products. Even so, a target profile can be a distraction as we've learned on this target profile trip. So let's summarise what we've learned so far: What have we learned so far? The Knoll brothers: John and Thomas Knoll. We learned they invented Photoshop. But besides that very important point, we also learned: 1) How to create an information product and why you need to leave the target profile out of it There are times when you might want to include the target profile, but that product might end up like a lot of me-too products on the shelf. To go rogue, you might need to sit down all by yourself and create an information product that is based on how you see the client getting from A to B. To put this fact into perspective, think about Photoshop itself. No target profile created that program. Instead the Knoll Brothers worked out what was needed to get clients from A-B and off they went into generating that awesome piece of software. The Photoshop me-too products were largely constrained by the boundaries of Photoshop itself. In short, the me-too were more a sort of target profile driven info-product, while Photoshop itself was a creator's dream. The target profile is not completely excluded from the creation-process, though. Once you've gone through the early stages and have your content past the early drafts, the target profile becomes extremely useful. I tend to send the draft to the target profile to get their feedback. There's almost something that I have left out, things I've not explained, examples that need more detail, etc. And the target profile will give me that very pertinent (and often, persistent) feedback. However, the target profile does play a role in pre-selling the info-product. 2) The target profile and the pre-sell While you shouldn't really get the target profile involved in the early stages of creating the info-product, you should get that client in very early in the landing page/pre-sell process. The reason why the target profile is invaluable in the pre-sell stage, is because you get to know what motivates the client and the main problem they're facing. Once you have the biggest problem clear, you can create your sales page to tackle that issue. The target profile interview becomes utterly invaluable when you're in the sales/pre-sell phase. To understand more about how the target profile plays a role, pick up your copy of The Brain Audit and read the chapter on target profile yet again. 3) Finally, the target profile plays a significant role in in a version or satellite product creation Users usually want a sort of upgrade. They'll ask you to fix this and that in your info-product. Most info-product creators nod glibly and do nothing. They simply don't bother to create a newer version of the info-product. Admittedly not all products need an upgrade, and any sort of update can be as much, if not more work than the existing product. Even so, you're able to sell an upgraded product to existing as well as newer clients. The other aspect is the creation of satellite info-products Just because you have a complete and detailed info-product, doesn't mean your target profile won't hanker after even greater detail. This is when you create a satellite info-product. The Article Writing Course has satellite courses, and even The Brain Audit has satellite products. In short, the user is asking you to create info-products that help them understand your information differently or in an intermediate format. Paying attention to the target profile makes for loyal clients and substantial profits from an existing clientele. Instead of scrambling all over the place to get new clients all the time, you can use this concept of satellites products and versions to run an extremely profitable business. The target profile is crucial. Or not. It depends on the activity and the stages of your info-products. What's the one thing you can do today? There's no one thing. This is all about stages. 1. Write the product you want to write to help the customer get from point A to point B. 2. Once finished, have a target profile review it for feedback. Make changes. 3. Interview target profile to help create a sales page: – Find out the problems they're having and use those problems in the sales page. – Find out their solution, objections, testimonials, risk reversal and uniqueness. Use on the sales page. Next Step: If you missed the first part of this series, here is the link: Info-product Creation Part 1: When to Leave The Clients Out (And When to Include Them In)

When creating an information product is the client important? It might seem that a client is extremely important when creating an information product. After all, you're getting them to tell you exactly what she needs. However, more often than not, this method is a recipe for disaster. Even so, the client is extremely useful in another phase. So when do you include the client? And when do you leave her out? Let's find out in this two part series on info-product creation. Read online: Info-product Creation Part 1: When to Leave The Clients Out ------------------ In this episode Sean talks about Part 1: How to create an information product and when you need the target profile Part 2: How to go about pre-selling your book Part 3: How to use the target profile to create info product versions ------------------ Did you ever wonder why evergreen trees don't shed their leaves even in freezing winter? The moment autumn rolls along, most trees in temperate and boreal zones shed their leaves. Every tree has chemical light receptors—phytochrome and cryptochrome. These light receptors can sense a loss of light. Which is precisely when deciduous and broadleaf trees shed their leaves. However, the evergreen trees hang on to their leaves even in the dead of winter, because their foliage is coated with a wax. This wax helps fob off the cold. Plus their cells bear an anti-freeze sort of chemical that enable it to avoid it having to drop its leaves. When creating an information product, we have to mimic trees Sometimes it's best to drop the client out of the creation of the product, because they're likely to get in the way. At other times we have to make sure we hold onto them like the evergreen tree does with all its leaves. But when do you get the client involved? And when do you drop them? In this series we'll look at the client—who we call the target profile. We'll have a closer look at three core elements: – When to leave the client out – When to bring the client in—and specially when pre-selling the info-product – Why the target profile plays an important role in creating versions or additional satellite products. Let's start with the first one. 1) How to create an information product and why you need to leave the target profile out of it What's the worst way to cook a great dinner? Let's assume you ask the guests to drum up a list of their favourite meals. Were you to go down this path of asking guests for their recommendations, you'd quickly get swamped with a mishmash of dishes. Dal makhani, fried chicken, broccoli, couscous—just about any dish would show up on the request list. And that's no way to cook a dinner, Instead a better way is to have an overall view of what the clients need—and then completely avoid asking them for any advice while you're prepping dinner. A similar process plays itself out when you're creating an info-product Many years ago when I sat down to write an info-product on membership sites. My idea was simple: I pre-sold the book on membership sites. I then asked clients to give me the topics they wanted me to cover. As you'd expect, I got a list of questions that seemed to go on forever. While at first it seems like topics given by clients are a goldmine, the requests turned out to be incredibly debilitating. As you'd expect, I was unsure where to start or how to go ahead. When creating information products, leave your client out of the planning stage completely. The goal of the information product—a great information product—is to get a client from Point A to Point B and to enjoy the ride in the process. Think of yourself as a GPS. The GPS has access to a tonne of information, but do you see that information on screen? Instead, what the GPS does is show you only what's valid for your journey. And should there be delays along a route, that very same GPS may take you down a longer route, but eventually get you to the destination as quickly as possible. Take for instance the series called 'Black Belt Presentations' The goal of the book series isn't just to create presentations. Instead it helps you create presentations that the entire audience can recall, and repeat, long after you've finished speaking. When creating this series, I had to think of the three elements that would help get the client to achieve this level of simplicity and elegance. Yet, if I were to ask clients what they wanted to see in a series on presentations, I'd have got a massive list. So I did what you should now do. You should play GPS. What three steps can the client take to get to the desired end point? Three steps? What if you have seventeen? Well, cut it down to three. With the 'Black Belt Presentations' series, the focus was on slide design, structure of the presentation itself and finally crowd control. With just three big steps, you should be able to take the client from one point to another. And just for good measure, let's take another example. Let's say you're writing about how to take good photographs. Surely there are a dozen things you can cover, but you focus on just three. Maybe it's not even three broad topics, but subtopics instead. So instead of exposure, ISO and aperture, maybe you could focus on just three aspects of aperture, instead. At this point in your product creation, you should have little or no input from your client All the outlines, the drafts and more drafts should be done all by your lonesome self. It's only when you get to the next stage and write down all of the information in a book that the client should take a look. It's akin to cooking a dish and then giving someone to taste it. If you're creating a video or audio, however, this method of recording might be a waste of time and energy, which is why the movies use storyboards. At the storyboard stage, clients can see how it's all playing out because it's a more polished, finished version of your idea. I tend to have written material ready first, long before I create any audio or video With written material, it's easier to move things around a bit, should you need to do so. At this stage, I'll tend to get a lot of suggestions and feedback by clients. Even so, it's important to restrict the feedback to just 2-3 clients. If you notice, I didn't say "editors", and said "clients" instead. The reason why you should choose "clients" is because they've paid or are likely to pay for the product. They are invested in what your final output will look like and they'll be quick to tell you what's confusing. At this stage, if they make suggestions or additions, it's not terribly hard to implement their recommendations as well. Finally, I'd go to the editor The editor brings the ultimate level of finesse to an info-product. That editor is likely to look through the grammar, remove inconsistencies and get your product up to a very high standard. So if we were to go back to the analogy of the dinner, you're the chef, the clients are the tasters (and recommenders) and the editor is person who makes sure the plating is just right. When you have all of these three elements in place, what you truly have is a great dinner—or in your case, a great information product. Bon Appétit! Let's move to the next element. 2) The role the target profile interview plays in regards to pre-selling the book—and how to go about it My mother hates eggplant. I didn't know that. I thought she loved it, considering the number of times we were forced to eat it when we were kids. And then, when I was all grown up, I finally took a great liking to it, only to find that my mother always hated it. To me that was one of the biggest surprises of my life. It's the kind of surprise you're likely to get if you don't do a target profileinterview. When selling a book, a course, a workshop—or any kind of info-product, it's easy to believe that our perception was right all along. We resolutely sit down and battle our way through the headline and the body copy on our landing page. We think we know the problem well, have the right solution and we're all ready to sell to the client. Except it's a bit like selling a yummy eggplant dish to my mother. It would have saved all of us a lot of grief if we did some research, wouldn't it? As soon as you hear the term "research" it's easy to think of Google Adwords and Facebook However, in most cases such drama is totally unnecessary. When creating an information product, we've done almost zero research. We simply create the product that we want to create and then link it to an existing problem. For instance, if you look at the Article Writing Course, it's about writing, but the problem is about "getting clients to call you". Now that's the bit of research you should be doing. And this research involves talking to a single client, who we fondly call the "target profile". The target profile will tell you exactly what's wrong with your offering, almost every single time. Which means you can tweak, but mostly have to rewrite the entire page, look at all the objections, redo the uniqueness. The target profile interview is likely to turn your world upside down, and it's all for a good cause. When you pre-sell the course, you'll realise that the target profile interview is critical You don't necessarily need the target profile when you're creating the contents of the book (except when you've already written it), but you will need the target profile at the very start of the sales, pre-sell process. Without the target profile, you're just guessing that they love "eggplant" when in fact their favourite dish is quite something else. Doing the interview with the target profile becomes super paramount. There's just one tiny problem: how do you do the interview? The interview is designed to primarily sniff out the problem of the client Let's say your product—your information product—is about "how to grow 1000 tomatoes in a 3 x 3 foot area". It might seem like the problem is obvious, right? The problem is either that your crop of tomatoes has been too tiny in the past, or that you don't have enough space to grow tomatoes. Yet, that's not necessarily the way the client sees things. Maybe their problem is completely different. Maybe their problem is that their tomato crops have been constantly attacked by white flies. Which is why the main problem is going to need tweaking. If you don't solve the "white flies problem", you may not be able to sell your product. Waitasecond, doesn't this change the entire information product? Let's say your information product was about how to plant, grow and harvest tomatoes, wouldn't the "white flies" be a diversion? Didn't we just agree that then client should not be involved in the creation of the info-product? We did indeed, but it's more than likely that the "white flies" issue is just a side show that can be easily tackled in the info-product. Yet, because the client sees it as the biggest issue, it's hard for that client to focus on anything else. And it's the target profile interview that reveals the fact that the client sees the main problem differently from you. In almost every situation your perception of the problem will be different from the client Which is why you need to make sure you choose the client with a relative degree of care. Over the years we've found the best target profile to be someone who's got two qualities: Quality 1: They're eager to buy—because they have a genuine problem. Quality 2: They're able to pay. Let's take an example of a real example to show you how these two elements work together I don't know if you're aware, but I've had the most terrible internet connection for the longest time. So bad, in fact, that it was impossible to make a Skype call as my voice would get garbled after 5 minutes. So bad that a 100 mb file would take over 25 hours, if it got to the server in the first place. About three days ago, we got our turn to get high speed fibre. And how do they sell the fibre to me? They talk about Netflix and downloading stuff. But even in my darkest hours of throttled bandwidth, we were able to watch Netflix without too much drama. What really scared me was how slowly my backups were moving up to the cloud I'd have at least five backups off-line, but having one super-fast backup online was imperative. When offered 100 Mbps, 200 Mbps or 1 Gig, which one do you think I've chosen? However, because the smart copywriter selling the offer didn't bother to check, he will never know why most clients are choosing the lower speeds. The company would continue to sell fibre connections, but be not hitting the right hot buttons, even when they have the above two conditions of a) the client need the problem solved and b)having the ability to pay. The target profile interview itself follows a route of discovery You follow the path of The Brain Audit. The Brain Audit has seven elements and since you already have the target profile, you have six of the elements to go through. You start with the problem, then move to the solution, and work your way through objections, testimonials, risk reversal and uniqueness. At all times, the clients are filling in the gaps for you. You're simply interviewing them and finding out what's on their mind. In short, they're telling you what you'd need to do to get them to buy the product. The ISP can do the same with me. What's even better is that the client will tell you all of their issues, and even if you don't put it in the headline of your sales page, you can still cover the issues in the features and benefits and then further down in the bullet points. Easily the most important reason for the target profile interview is the emotion in the language. When you sit down at your computer and write, you often write words that are dry and devoid of emotion. When a client describes the problem, there's a completely different set of emotions that are hard, if not impossible to replicate. Which is why the target profile interview becomes crucial for pre-sell and for any ongoing sales. But why not involve the target profile from the beginning of the content creation? You could do the interview first and use that interview as a roadmap for the contents of the product (as well as the sales page copy)? This answer is ridiculously difficult to answer. Here's why. Let's say you have a target profile. And let's say they have a bunch of issues. Now if your goal is to simply answer those questions and thus create a book, video or audio, you're on the right path. Many books are written around a brief that involves you simply answering the client's questions. This isn't to say that the info-product needs to be boring. Take for example an info-product I'm creating on the topic of "how to create an e-book using InDesign" Around 2013, I had already created a version of this info-product and it sold remarkably well. Since then InDesign has gotten a bit better and while the principles remain the same, I thought of upgrading the product. Which is why I started working with a client on this very topic. In effect he was asking questions and I was building the product around his problems and needs. However, merely answering a question isn't always the way to go Take for instance the Website Masterclass we did way back in 2006. The live workshop and the course itself was about websites, but the angle we took was hinged around "religion". It was about how "religions" are built and this includes religions such as Harley Davidson, or sports such as cricket or football. The metaphor of religion was superimposed on how to build a website. And it was an extremely powerful metaphor for most, if not all the attendees. They understood the concept and the underlying principles and that the website was just a medium to express themselves. Involving a client in the process can be both useful as well as tiresome Instead of creating something using your own parameters and creativity, there's a great likelihood of getting stuck to a fixed format dictated by the needs of the client. Often enough, customers are only helpful if the info-product is something they're thinking about and need. However, if the info-product isn't something they're thinking about, it's impossible to get the client to participate. Take the issue of an info-product like the First Fifty Words, for example When you start writing an article, you need to get off to a brilliant start. However, that's the point where a lot of writers get horribly stuck. Let's say you ask a client to participate in creating a product. What are they likely to say? They're likely to give you the problem—which in their case is that they struggle to write the First Fifty Words. The problem is not something they can decipher, and so any input from the client is only possible once you put the information together and get them to review the course. In my experience, both the types of info-products can exist side by side However, to create really info-product that's a lot different from what everyone else is creating, you'd have to think of your own method of solving a problem. I tend to avoid any target profile input at the start. I can't say I'm completely deaf to a target profile's comments, but by and large I go off to create what I think is important to get to the end point. A road map with the target profile might seem to be good, but it might lead you down the path that everyone else is taking. If you want to get a little off tangent (in a good way), my advice is to avoid the target profile until much later in the process. Knowing the client and the language of the client is critical. It's what helps us to talk to, and sell to clients in their own words. And they're happy when you take the trouble to find out what's important to them. Next Step: Element 3: Info-product Creation Part 2: Double Your Sales With Versions and Satellite Products

When you create your business, product or service uniqueness, do you need to test it? Incredible as it seems there's little point in doing any testing at all. In this episode you'll find out why testing is practically impossible and how instead of wasting time on research, you should follow three steps to make sure your uniqueness occupies a permanent part of your client's brain. In this episode Sean talks about Step 1: You have to consistently get the word out. Step 2: You have to state the position of the competition. Step 3: You have to state your own position. Read it online: How to Effectively Test Your Uniqueness ========== When you have settled on your uniqueness, how can you test it? What is likely to happen to a woman's bikini, when she's surfing? "If you're a woman, surfing with a bikini was slightly out of the question.You'd be out in the waves, walk out of the water and literally you've lost your bottoms," said the business owner, Anna Jerstrom. So Jerstrom decided to create sexy, bright bikinis. And the uniqueness? Bikinis that stay on, no matter how rough the surf. And with this single-minded pursuit, investment banker, Anna Jerstrom started a business called Calavera. Wouldn't she need to test the uniqueness before she began? In almost every case, testing a uniqueness is completely unnecessary. One of the biggest reasons why you shouldn't be bothered with testing a uniqueness is because you're unlikely to have any competition. Let's take the uniqueness of Calavera, for example. Why did Jerstrom start the company? Surely she should have been able to find some bikinis that didn't slide off in the surf. Even with the power of the Internet at her disposal, she was still running into dead ends. It means that there will be hundreds, if not thousands of customers who are also finding it hard to get a decent product. That line of thought may not sound reasonable to you, but let's look at the alternative, shall we? Let's say you decide to sell a product. Maybe it's an information product that's based on presentations. When you look on Amazon.com, you're likely to find at least 5,000 books on presentations. Do you really want to go through every sales page trying to find out what's unique about the presentation product? Clients don't care about doing such extensive research either. They just want to show up to your business whether online or offline, and they want you to explicitly tell them why you are different from the rest of the competition. Whether you have a product, training or a service, your uniqueness doesn't need testing, simply because it's impossible to do a test. But there's another good reason why you shouldn't bother to test The biggest reason why you should just go ahead and run your uniqueness is because the competition is lazy or confused, or both. Most companies are clearly at sea when asked what makes them unique. If you have a uniqueness factor in place, that puts you way ahead of your competitors. However, there's also another reason why you can go ahead quite happily. Even if your competition has a uniqueness, it's not much use unless they use it on a frequent basis A uniqueness itself is not enough for clients to remember what is being said. Volvo is known for their safe cars because they ran endless ads about safety. Dominos made a billion dollars selling pizza because of their "30 minutes or it's free" slogan. Think for a second about your competitors right now. Can you quickly bring up their uniqueness? It's not enough to have a uniqueness, you have to do so much more In fact you have to take three steps to make sure the uniqueness does its job properly. Step 1: You have to consistently get the word out. Step 2: You have to state the position of the competition. Step 3: You have to state your own position. Let's go through the steps—To Getting Your Uniqueness Recognised Step 1: Get the word out This means a uniqueness can't just sit around. It has to be repeated in some form or the other, over and over again. If you've listened to the "Three Month Vacation" podcast, for example, when I talk about 5000bc, I will repeat the same thing almost ad nauseam. I will say, "5000bc is a place where introverts meet because they feel safe". The same message will be sent out in articles, in books—in just about every medium possible. And the message never changes much, if at all. Keeping that message consistent is what is critical. If you keep changing the message simply because you're bored of it, you've lost more than half the uniqueness battle. You want to make sure you get the uniqueness as simple as possible and then continue to mention it everywhere. When you consider that you may have more than one product or service, you have to pick your battles For instance, the uniqueness of Psychotactics is "tiny increments". But often the overall company uniqueness is of little value to the client, because they are more focused on the product or service, instead. However, at Psychotactics, we have many products, so I pick the uniqueness depending on the medium. On the podcast, I will consistently end with the uniqueness of 5000bc However, while I'm explaining something in the podcast or in an article, I will make sure to talk about the uniqueness of Psychotactics courses and how they're not just information, but about skill (see, I did it again). You don't want to bring up the uniqueness of every single product or service. You want to make sure you have a few entry points. For us at Psychotactics, those entry points that need to be stressed are The Brain Audit, 5000bc and the courses. It's not like the rest of the products and services don't matter. They do, but the uniqueness of those products and services are on the sales page or sales pitch itself. It's important to have your doorways Just rattling off a dozen uniquenesses for a dozen products doesn't get any message across to clients. Pick two or three of your services or products—or if you like, the uniqueness of your company. And then keep hammering them home in pre-selected areas of your marketing. But that's only the first part of making sure your uniqueness is heard. To make sure you get the point across, you have to state the position of the competition. Step 2: Stating the position of the competition Ever noticed how shiny Harley Davidson bikes tend to be? The reason for their shiny nature is probably the diligence of the bike owner, but equally, it's how the bike has been positioned in the Harley owner's mind. Harley owners have been known to truck their bikes across and then ride them locally. After all, the bikes have to be in pristine condition at all times. The BMW bike owners, on the other hand, seem to favour the dust and dirt, pushing their bikes across all sorts of punishing conditions. Even if the above description of BMW vs. Harley is not 100% accurate, it demonstrates the difference And uniqueness is a point of difference. To make sure you get the point of difference across, you need to have the competition clearly in your sights. If you have a million-dollar promotion budget, you can continue to mention your slogan, but if you're a small business, you tend to get very few chances. Which is why it's important to bring the competition when you're describing your own point of uniqueness. So first, you have to pick your "enemy." The enemy may not be a company. It could be a way of doing things. So when I say, "other courses give you a money back guarantee, but no guarantee of skill", I'm not taking on anyone in particular. I'm simply taking on an aspect of online courses. If you were to say, "other yoga classes have a lot of yoga routines, but don't necessarily pay attention to what can injure you long after you've left the yoga class." Or to take a third example involving microphones: Other microphones pick up unwanted noise and reflections, in a bad-sounding, untreated room." Once you've defined the enemy's characteristics you know what you're battling against No doubt the enemy will have many flaws, but your job is to pick one. Uniqueness is about "one thing", and the moment you pick the opponent's flaw, you can easily position yourself against them. Which takes us to the third step, doesn't it? Step 3: You have to state your own position Your position is the exact opposite of the flaw you've picked. If they work too slowly, you work quickly. If they give you 200 pages of information, you give only the ten pages needed. If they sell ripe bananas, you sell them green, so they don't ripen too quickly. With the Calavera bikinis, Anna Jerstrom's enemy was "the terribly fitting bikinis", and her position was "bikinis that stay on, no matter how rough the surf." You can pick up anything off your desk and ask yourself why you use that particular product. And the same goes for any service as well. Or company for that matter. When I give a presentation, for example, I want to stand out from the rest of the presenters, so I talk about how businesses make a gazillion dollars, but we make more than enough, and we take three months off every year, not working, but completely on vacation. When you state the competitor's position and contrast it with yours, you can see the lights going off in the prospect's brain. Which brings us to that testing bit again: how do you know if your uniqueness is truly unique? It's the nodding of the head. When you state your uniqueness, the clients tend to see the difference between your competitor and you. And you get this smile, this slight nod of the head. You know you've struck a chord with the client. Oh, and there's the echo. When you ask the client what you do, they should be able to echo your words perfectly Listen for the echo. Are they missing out important bits? If they are, your uniqueness may not be as simple as you think and you'll need to edit it a bit. If they're totally off tangent, then you haven't made your point as precise as it could be. If you run into your client a month or six months from now and they can echo your uniqueness perfectly, then you've got a uniqueness that has resonated with them, and it's truly a point of difference. Finally, a lot of uniqueness comes about when you're not expecting it That line about how our courses are different from every other online course wasn't something I figured out while sitting down and going through this exercise. I probably said it in response to a question on an interview or when trying to explain what makes our courses different. Over times, I made sure to bring it up often so that it got a bit of an edge. A lot of your uniqueness is going to pop up when you least expect it, so make sure you write it down when you hear yourself saying something interesting about your product or service. Nonetheless, as a starting point, defining the enemy is a very crucial exercise. It's only when you define the enemy that you can clarify your own position in a memorable manner. To get your uniqueness really charging down the road you need to consider all three points: Step 1: You have to consistently get the word out. Step 2: You have to state the position of the competition. Step 3: You have to state your own position. And that's how the uniqueness fits—just like a Calavera bikini. Oh, one more thing: Calavera closed down its business in 2017. They decided they wanted to do something different and after a good five years of running the business, they decided to shut shop. P.S. What would it be like to stand out from the competition in a way that customers choose you over everyone else? And what if you were to raise your prices, and they still kept coming? Have you ever wondered what it might feel like to not be me-too? Here are six goodies on uniqueness Free Goodie No. 1: Uniqueness: Why We Get It Wrong Free Goodie No .2: Getting to Uniqueness Part One and Two Free Goodie No. 3: Uniqueness: The Importance of the Mundane and the Seemingly Uninteresting. Free Goodie No. 4: Uniqueness mistakes and how to avoid them-video Free Goodie No. 5: Uniqueness: The Difference (and Resemblance) Between Uniqueness and the Other Red Bags Free Goodie No. 6: Uniqueness: Do You Need To Carve Out a Uniqueness For 'Every' Product or Service? Get the goodies here: How to get to your uniqueness