This article is in response to a question I received from one of my readers who wrote: “We have a craft business and do many craft shows a year from the east coast to the Midwest. So far this year we have done shows in PA, IA, IL, VA, OH, MN, NB, SD, and WI. In every location, it seems the story is the same. Shows are not what they were just two years ago. Everyone's sales are down and a lot of craftspeople are wondering whether to continue or give up and find regular employment. I am not sure if the reasons are all of the China imports in the craft shows and in retail stores, the economy, or whether women are craft-showed out. What does the future hold for the crafts industry?"

I figure the economy has certainly impacted sales at craft shows and fairs since 9-11, and I know that today's craft shows are loaded with products not being made by exhibitors (imports, as well as things just "put together"), but wholesale sellers seems to be doing very well, so the market for quality products appears to be alive and well in spite of the weak economy. However, since I no longer get out to craft shows, and have not surveyed craft sellers on this topic for some time, I asked veteran show-goer and show-list publisher Bill Ronay for his take on this topic. His interesting reply follows. Readers are invited to e-mail their thoughts on this topic for publication here.

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by W. R. "Bill" Ronay
Publisher/Consultant

What the future holds for artists, craftspeople and concessionaires was a recent topic in one of the workshops my wife, Camille, and I regularly present, so I'm happy to answer this question from Barbara's reader.

Camille and I operate four Web sites devoted to art, craft and festival show listings across the southeast. In our research of the crafts scene, and from attending many shows, we've found that the exhibitors who are serious about their work and are actively selling their work are the ones who are successful making a living on the "circuit," as most refer to arts and crafts shows in general. In visiting several festivals this past spring, we found a growing number of exhibitors who either did not know any better or just did not care about selling what was in their booths.

Import items have taken a strong hold on the market, in general. Gone, at least in most events, is the dedication by the majority of previously "handmade-by-exhibitor" adherents. "It is just too hard to keep up," one woodworker told me. "I can buy work that looks so close to what I create myself, so why bother?"

One of our biggest shocks lately was learning of a heretofore renowned split-oak basketmaker who is no longer making and selling his own work. Instead, he purchases his inventory from a couple of women who sell hundreds per week to anyone who has the money to pay for them. And they know he is selling them as his own. Yes, the baskets look good. They are "handmade," a requisite of many shows. And the person selling them is quite capable of duplicating the items. BUT, he made not a one on display. The show didn't ask. He didn't tell.

The basic art (yes, it is an art) of selling at shows seems to escape some of even the best artists, craftspeople and concessionaires. Few are familiar with what it takes to sell their work. Sitting down behind a table filled with half-empty drink cans and this morning's sausage biscuit, reading a novel, or talking to neighbors about the last show at which they did 'crummy' and can't imagine why . . . all this while ignoring the customers who do come into the booth only to flit away when the exhibitor jumps up and bounds after them like a tiger pouncing on a rabbit!

If you close your eyes and imagine this, it is definitely not a pretty sight, but we witnessed this taking place over and over again. These exhibitors had spent good money on a booth; many hours of shop time to create whatever; tolerated the travel odyssey to get there--not to mention the upheaval in their schedule--only to blow it all with a lack of selling skills. These same people are the ones who invariably complain that sales are down and the shows are not what they used to be.

Show directors are just as guilty. Camille and I receive several inquiries every month from show promoters whose intentions are to produce yet another event . . . not that they don't have enough in the circuit already! In order to fill the spaces and to make a profit, these event "professionals" have unfortunately focused on whoever can sign a check for the booth rental in whatever numbers are necessary to make a profit for themselves.

Handmade-work-by-the-exhibiting-artist shows are a lesser percentage of overall event numbers. Too many exhibitors per category abound. This becomes double-edged when the vendor thinks he is putting something over on the promoter when he displays and sells items which have not been approved. Then the promoter fails to enforce this requirement.

Motivational speaker Bruce Baker has produced a CD entitled Dynamic Sales. While it focuses on the arts and crafts industry, the exhibitor and his/her ability to turn festival visitors into collectors of his/her work, it is readily adaptable to any business of selling. It is an excellent sales tool for real estate agents as well as non-profit fund raising campaigns. As we listened to the 45-minute multi-tiered dialogue, we were shocked to hear different terms for what we had been projecting in our workshops and consultations for more than a decade. You have to "sell your product," "bond with your customer," "understand his/her needs" and "sell yourself and your work" in the most positive image possible.

From the most simple body language, such as using open-handed gestures, to the most complex psychology--being quick and confident to make logical comments as you and the customer interact--all of this unfolds in Bruce's CD. For less than $20 exhibitors have an exceptional tool to learn to sell their work. The CD is available on Bruce's Web site.

Barbara's reader wonders if the economy is to blame for her bad sales. In my opinion, it is not the economy that's the problem. And it is not that all shows are bad. But there are more shows now than there have ever been, and that translates into exhibitors having to maximize their event investments by knowing what the public likes and choosing the best venues in which to sell it to them. Bottom line? The sales figures for those who work to present themselves and their work professionally and lovingly are stronger than ever!

© 2004 by W. R. Ronay, A Step Ahead, Ltd. Bill and Camille operate four Web sites, including Events2000, Around The South, Festivals Across America, and The Ronay Guide.

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