| You've just started out on your own and, yes, | | | | It's showtime, folks! Finally, you're at the |
| the big day is here! A large contract negotiation | | | | negotiating table. You've learnt your script by |
| with clients in on the agenda, and you're shaking in | | | | heart, but remember that the other party is |
| your shoes just thinking about it. Chill, it's not that | | | | enacting their own set of roles. If, by happy |
| big a deal. Most clients are human, and if you do | | | | coincidence, the situation unfolds as planned, say |
| your homework right, you should be signing that | | | | your lines the way you rehearsed them. Else, |
| dotted line real soon. Contract negotiation with | | | | move on to plan B - that's when you respond |
| clients is a bit of an art, but mainly it's a very | | | | according to what the other guy says, but try |
| learnable skill. See how you can overcome your | | | | your best to steer the conversation back to the |
| stage fright. | | | | original plot. It's important to keep track of what |
| A negotiation process is not very different from | | | | you're saying, so that you don't contradict |
| staging a play. There's a plot, there are characters | | | | yourself later on. That's pretty much the same as |
| and the whole thing is enacted out, hopefully to a | | | | with a contract negotiation with clients, when your |
| standing ovation. While a great deal of preparation | | | | word must be worth everything. Finally, don't hog |
| goes into it, there's always the unexpected | | | | the lines. You're only one part of a larger drama. |
| development which calls for on the spot | | | | Give the rest of the crew the chance to say |
| improvisation. And that's the story with | | | | their piece, and hear them out. You're on stage, |
| negotiations as well, barring a few twists in the | | | | remember, so body language is everything. Even |
| tale.... | | | | if you're not doing the talking, make sure you |
| Rehearsing is everything. Start by laying down | | | | don't look bored or wooden. At the same time, if |
| your goals. What do you really wish to get out of | | | | there's a little bit of villainy that's crept into the |
| it? Do you want the contract at any cost? That's | | | | plot, bring on the heroics. Say no, if you absolutely |
| like deciding the ending of the play, and therefore, | | | | have to! |
| everything that happens before must lead up to | | | | Curtain call. In the final analysis, concluding a |
| it. So, do you have your script ready? This is the | | | | contract negotiation with clients successfully is |
| part where you determine the position that you're | | | | what really matters. And for that to happen, you |
| going to take during the contract negotiation with | | | | must give the client adequate reason to say yes. |
| clients. Since some of the characters (read clients) | | | | Which means, you can't be the only hero; the |
| are likely to follow another script altogether, you | | | | client must shine as well. If you're gunning for a |
| will also need to prepare for an alternative | | | | happy ending, you'll probably need to inject a |
| scenario. Have you defined the characters? Do a | | | | healthy dose of harmony and agreement among |
| background check on the people you're planning | | | | the lead actors. On the other hand, if the plot has |
| to do business with. Does their reputation precede | | | | gone astray, bow out gracefully. There will always |
| them, and if so, what tactics can you expect? | | | | be another day, another show. |
| What's the setting like? Make the effort to | | | | Finally, our most important piece of advice, if |
| understand current market realities, competitive | | | | you'd like some more guidance on negotiating with |
| positions and key influencers. | | | | clients, don't attend drama school; visit instead! |