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on 15-Sep-2017 (Fri)

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Flashcard 1691588889868

Tags
#22-keys-to-success #sales
Question
Key #1 Take [...]
Answer
Control of the Sale


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Flashcard 1691591249164

Tags
#22-keys-to-success #sales
Question
In order to take control of the sale you must learn to detect and then control [...]
Answer
the prospect’s fear of moving forward.


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Flashcard 1691593608460

Tags
#22-keys-to-success #sales
Question
There are [...] primary fears that threaten to destroy your sale.
Answer
four


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Flashcard 1691595967756

Tags
#22-keys-to-success #sales
Question
The two first primary fears that can destroy your sale are:

1.-Fear of [...]

2.-Fear of [...]
Answer
1.-Fear of making the wrong decision

2.-Fear of Change


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#22-keys-to-success #sales
1. Fear of making the wrong decision.
The buyer of financial products is continually offered conflicting advice from financial gurus, the press, friends and family members. The buyer is overwhelmed by choice and doesn’t know whom to trust. This uncertainty leads to a fear of making the wrong decision – which often leaves them to make no decision at all.

The Solution: Interview the prospect to uncover their goals and create a plan tailored to their needs. Show them third party information such as newspaper articles or investment service reports to support the reasoning behind your plan. Presenting a plan along with simple, credible information will give the buyer the knowledge he needs to make a decision with confidence. This approach also helps build trust as it highlights your role as educator and downplays your image as salesman.

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#22-keys-to-success #sales
2. Fear of change.
Any type of change in the status quo is risky and uncomfortable for a client.

The Solution: Provide prospects with a road map for the decision making process so they know what to expect. Discuss details such as: the length and content of the fact finding interview, the agenda of follow-up meetings, and how each of you will decide if the relationship is a fit. Describing the process in detail creates trust and credibility with the prospect and is the best way to handle the fear of change. Think of it this way: if you went to a dentist and he immediately started scraping, prodding and drilling, your fear level would likely be extremely high. But if you were shown x -rays and told exactly what was going to be done then your level of fear would be much lower. It’s exactly the same when you are trying to get a prospect to become your client or when you are selling a client something they know little about. To reduce their fear you need to explain every important element.

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#22-keys-to-success #sales
3. Fear of giving up control.
Buyers want to establish the ground rules and direct the process. When they feel that they aren’t in control they may exhibit a number of troubling behaviors like not returning phone calls, delaying the process or making impossible demands.

The Solution: The secret to overcoming their fear is to ask for permission and agreement. Ask for permission to ask questions, and ask for agreement on how to set up and keep appointments and how to proceed with each step of the sales discussion. By asking for permission and agreement you can reduce the obstacles that can be created by the fear of giving up control.

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Jar¯ır cries because of his lost Um¯ama (his beloved?). Al- Farazdaq, instead of crying over a lost love, will present a very famous (harsh) verses against him

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The story of a Yarb¯u , ¯ı man who drank the semen of a man of the D . abba clan. He mentions also that Jar¯ır is the only man in the world to become pregnant

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It is clear that the refuting poet does not deal with the themes and motifs in the same order as they appear in his rival’s naq¯ıd . a; rather the order is arbitrary.

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it really seems that al-Farazdaq’s naq¯ıd . a was composed in two stages. The first included the composition of verses 1–64 (or perhaps verses 1–62). 24 Jar¯ır’s naq¯ıd . a, which includes only 62 verses, addresses these verses. We can now understand why Jar¯ır’s poem was not as long as al-Farazdaq’s. Apparently, it was a counter-poem composed in response to the first version of al-Farazdaq’s naq¯ıd . a which has almost a similar number of verses, and not a complete version of the poem. Then, after hearing Jar¯ır’s counter-poem, al-Farazdaq decided to add many other verses to refute Jarir

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It is quite probable that a poet who becomes acquainted with a poem through oral transmission sometimes fails to recall the exact order of all of its components. Although such a conclusion is plausible, it can be neither proved nor disproved. Neither can the question whether both poets composed their naq¯ıd . as orally be clearly answered.

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Four possible ways the naqıdas were composed, transmitted and presented: 1. Al-Farazdaq composes the first part of his poem in advance, then recites it, apparently in al-Mirbad. Jarır comes to al-Mirbad and listens to al-Farazdaq’s recitation. He then composes a counter-naqıda in which he refutes the themes and motifs that he was able to remember of his opponent’s naqıda. Some time later, he recites his own poem in al-Mirbad. After al-Farazdaq listens to Jarır presenting his counter-naqıda, he adds more verses to his poem, referring to his rival’s counter-poem. We do not know whether the poet, after composing the additional part of his poem, presents the audience with the complete naqıda or recites only the new part.

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Four possible ways the naqıdas were composed, transmitted and presented: 2. The second way is the same as that mentioned above, but instead of the rival poet going to al-Mirbad to hear his opponent’s naqıda, some transmitters presumably acquainted him with it.

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Four possible ways the naqıdas were composed, transmitted and presented: 3. A third option, which seems to be less likely, is that al-Farazdaq prepares his poem ahead of time and then recites it. Jarır attends the recitation and is required to compose orally a counter-poem by which he refutes the major themes and motifs raised by his rival. Immediately afterwards, al-Farazdaq composes other verses of his poem (the second part of it), this time orally too, in order to refute Jarır.

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Four possible ways the naqıdas were composed, transmitted and presented: 4. A fourth way, which also seems unlikely, is that the entire process of the naqaid . composition was done orally, both the first and second parts. All the naqıdas are composed and recited in al-Mirbad itself, in the presence of the rival poets and their audience.

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