Much of the new business process in professional services involves "the pitch". This paper provides creative and practical ideas on how to win (or not lose) your pitch.

1. Pitch Imperfect:
Making the Best of a Flawed Process
The
most
important
thing
about
a
point
of
view
is
to
have
one.

2. Star%ng
with
a
Rant
Borrowing
liberally
from
Winston
Churchill’s
observa<on
on
democracy,
I
believe
that
pitching
is
the
worst
part
of
the
agency
selec<on
process
except
for
all
others
that
have
been
tried.
Pitching
is
now
entrenched
and
to
those
on
either
side
of
the
table,
a
necessary
evil.
Both
agency
and
client
have
issues
with
the
process
including:
The
expense
and
<me
it
takes.
I
have
been
involved
in
contests
cos<ng
hundreds
of
thousands
of
dollars
to
the
agency
and
taken
more
than
nine
months
for
a
decision
Most
agencies
hate
to
pitch.
Anyone
who
enjoys
hanging
their
fate
on
a
ninety-­‐minute
presenta<on
is
deluded.
The
ini<al
euphoria
of
being
invited
to
pitch
is
tempered
by
the
effort
involved
and
actual
chances
of
success
The
process
is
subjec<ve.
Provoke
Insights
found
that
47%
of
agencies
surveyed
were
dissa<sfied
with
decisions
that
were
arguably
subjec<ve
and
betrayed
the
agreed-­‐to
scoring
system
New
seems
beNer.
Agencies
rally
the
troops
for
the
allure
of
gaining
a
new
client
and
that
oOen
comes
at
the
expense
of
exis<ng
clients
The
industry
has
created
a
treadmill
of
pitching
it
cannot
get
off.
In
the
beginning
it
was
an
innova<ve
method
of
assessing
if
agency
and
client
could
work
together
and
to
demonstrate
how
the
agency
solves
problems.
That
was
laudable
but
now
these
events
take
place
in
a
bubble
crea<ng
an
ar<ficial
atmosphere
seldom
reflec<ng
reality.
As
a
proxy
for
an
authen<c
rela<onship,
the
pitch
process
definitely
falls
short.
My
biggest
complaint
is
the
process
is
tedious
and
unoriginal
and
that
means
the
results
are
tedious
and
unoriginal.
Its
length,
number
of
agencies
in
the
caNle
call,
consensus
needed
to
make
a
decision,
scads
of
paperwork,
lack
of
access
to
decision
makers,
procurement
pressure,
and
the
use
of
search
consultants
all
now
add
up
to
a
healthy
tax
on
both
agencies
and
clients.
2

3. It
surprised
me
that
I
actually
took
this
on
as
a
topic.
Not
because
I
lack
a
point-­‐of-­‐view
or
have
limited
experience
but
rather
because
so
much
has
been
wriNen
on
the
subject.
I
feared
adding
more
of
the
same.
To
be
clear,
this
paper
provides
no
magic
panacea
or
regurgita<on
of
the
basic
checklist
for
pitching.
It
takes
a
fresh
look
at
the
challenge
by
sugges<ng
you
pitch
keeping
in
mind
three
categories
cri<cal
to
successful
pitching:
3
what
you
have
to
do
or
be
penalized
what
you
have
to
do
to
stand
out
what
you
have
to
do
to
influence
the
decision
Let
me
share
the
big
secret.
That
is,
there
really
is
no
secret
to
winning
at
pitching.
Winning
always
comes
down
to
chemistry.
This
was
supported
in
a
survey
of
search
consultants
who
broker
between
adver<sing
agencies
and
prospec<ve
clients
in
the
selec<on
process.
96%
of
those
surveyed
iden<fied
chemistry
as
the
key
factor
in
winning
(I
think
the
other
4%
mistakenly
<cked
the
wrong
box).
Unfortunately,
the
pitch
process
does
liNle
to
truly
assess
chemistry,
fit
and
compa<ble
values.
We
all
hope
we
will
never
have
to
pitch
again.
We
want
our
brand
to
qualify
us
to
such
an
extent
that
we
are
sole
sourced.
Yet,
even
the
top
branding
firms
in
the
world
pitch
because
there
is
not
enough
measurable
differen<a<on
in
their
own
branding
for
a
client
to
base
a
decision.
To
be
fair,
most
clients
needs
to
seek
mul<ple
quotes
so
sole
sourcing
is
rare
and
geng
rarer.
So
un<l
we
find
an
alterna<ve
approach
to
new
business
pitches,
we
have
to
do
them
to
the
best
of
our
ability.
Let’s
get
started.

4. What
You
Have
to
Do
or
Be
Penalized
Over
the
last
twenty
years
what
were
once
differen<ators
for
agencies
are
now
the
basic
price
of
entry.
We
owe
much
of
this
to
the
pitch
process
itself.
It
has
been
fantas<c
at
revealing
and
spreading
everyone’s
strategies,
approaches,
and
well,
tricks.
This
does
not
mean
agencies
can
avoid
delivering
the
basics.
Here
are
the
boNom-­‐line
expecta<ons
that
must
be
met.
Follow
Instruc<ons
It
sounds
cool
to
break
the
rules
to
be
different.
However,
the
client
provided
instruc<ons
for
a
reason.
Many
agencies
think
that
devia<ng
is
a
demonstra<on
of
crea<vity
but
such
an
approach
is
a
clear
risk.
On
a
recent
pitch
in
Europe,
I
assisted
an
agency
who
was
in
the
running
for
a
global
rebranding
engagement.
We
discussed
interes<ng
ways
of
impressing
in
our
approach.
We
followed
the
spirit
of
the
brief
but
gave
the
client
a
great
deal
to
chew
on
when
it
came
to
a
pay-­‐for-­‐
performance
model.
It
was
strategic,
it
was
smart
and
it
could
have
provided
interes<ng
mutual
benefit.
However,
this
made
it
more
difficult
for
them,
making
an
apples-­‐to-­‐apples
comparison
impossible.
It
did
not
harm
us
but
it
sure
did
not
help.
Defining
Meaningful
Roles
Years
ago
while
working
on
a
project
for
DeloiNe
I
was
introduced
to
the
term
“L.I.G.A.M”.
It
means
“least
important
guy
(or
gal)
at
mee<ng”.
You
never
want
to
be
LIGAM
for
the
sake
of
your
own
posi<oning.
In
a
pitch,
anyone
not
playing
a
meaningful
and
ac<ve
role
is
more
than
superfluous,
they
demonstrate
a
blatant
disregard
for
project
management
and
costs.
Only
assign
and
bring
resources
that
truly
make
a
contribu<on
as
clients
take
note.
4
Go
Jargon-­‐Free
Marketers
love
to
use
big,
expensive
sounding
words
oOen
to
overcome
insecuri<es
for
the
value
they
offer.
Language
that
is
clear,
concise
and
compelling
is
the
only
language
of
marke<ng
and
it
should
be
demonstrated
in
a
pitch.
A
consultant
of
any
type
is
paid
to
break
down
the
complex
and
get
to
its
essence.
So
do
not
take
ten
slides
to
explain
“strategic,
digitally-­‐informed
non-­‐intrusive
market
penetra<on”
when
“growing
new
revenue”
would
do.
Be
the
Brand
For
six
years
I
was
Chief
Communica<ons
Officer
at
DDB
Worldwide.
This
is
a
storied
brand
in
the
industry
that
must
con<nually
make
all
that
rich,
proud
history
relevant
and
current.
We
are
all
measured
by
the
company
we
keep
and
clients
enjoy
tou<ng
their
professional
rela<onships.
This
is
not
a
ques<on
of
old
and
big
agencies
being
more
desired
over
others.
I
have
met
Chief
Marke<ng
Officers
with
big
budgets
and
aspira<ons
who
prefer
working
with
‘upstarts
and
underdogs’.
It
comes
down
to
pride,
fit
and
commitment
from
both
sides.
I
have
seen
countless
situa<ons
where
the
pitch
prepara<on
conversa<on
boils
down
to,
“it
is
not
about
us,
it
is
about
the
client.
Let’s
kill
all
those
slides
about
us.”
I
agree,
kill
the
slides
but
don’t
kill
the
pride.
Present
and
exude
your
compelling
creden<als
and
(hopefully)
dis<nct
agency
posi<oning
throughout
the
pitch.
“Let’s
kill
all
those
slides
about
us.”

5. Build
Chemistry
Blocks
If
it
all
boils
down
to
chemistry
then
bringing
the
right
people
to
the
table
lights
the
Bunsen
burner.
In
recent
rounds
of
qualifica<on
I
have
seen
clients
really
scru<nize
the
team
members
and
backgrounds
of
those
individuals
assigned.
This
is
damn
smart.
Years
ago
I
was
grilled
by
Coca-­‐Cola
as
a
member
of
the
consul<ng
team
proposed
by
Price
Waterhouse.
This
was
not
intrusive
or
insul<ng,
it
made
great
business
sense.
It
is
no
secret
that
consultants
and
agencies
are
less
than
perfect
in
staffing
client
teams.
OOen
those
buying
professional
services
have
been
on
both
sides
of
the
table
and
are
geng
more
adept
and
less
forgiving
at
“bait
and
switches”,
the
assignment
of
junior
resources,
and
those
lacking
industry
depth.
Fit
and
chemistry
are
two
different
things
and
you
need
both.
Hype
Execu<onal
Excellence
The
three
categories
making
up
this
paper
are
not
en<rely
cut
and
dried.
This
point
on
execu<onal
excellence
could
easily
go
in
the
next
sec<on
dealing
with
ways
to
stand
out
(think
of
it
as
being
in
both).
If
the
client
is
smart
they
will
ask
you
two
ques<ons:
“can
you
get
this
done?”
and
“can
you
get
this
done
in
our
culture?”
These
are
two
very
different
ques<ons.
The
first
shows
you
know
your
stuff
while
the
second
acknowledges
the
intangible
and
the
unknown.
It
comes
down
to
execu<on
so
show
prospec<ve
clients,
really
show
them,
through
cases
and
tes<monials
that
you
can
take
away
problems
and
capture
opportuni<es
and
have
done
so
in
variety
of
industries,
businesses
and
cultures.
If
the
client
is
smart
they
will
ask
you
two
ques<ons:
“can
you
get
this
done?”
“can
you
get
this
done
in
our
culture?”
5

6. 6
What
you
have
to
do
to
stand
out
In
this
category
there
is
so
much
going
on.
To
win
you
have
to
listen
and
recognize
that
there
are
always
two
agendas,
one
is
the
stated
agenda
and
the
other
is
way
more
important.
And
remember
that
passion
goes
a
long,
long
way.
Find
the
Real
Agenda
Too
many
agencies
hear
what
they
want
to
hear
and
end
up
barely
mee<ng
expecta<ons.
The
most
successful
pitches
uncover
the
client's
unwriNen
brief.
Teams
that
ask
the
right
ques<ons
can
uncover
it.
I
have
seen
rebranding
briefs
which
are
more
about
cosme<cs
than
revenue
growth
and
adver<sing
briefs
that
are
shortsighted
and
short-­‐term
represen<ng
an
internal
power
struggle
more
than
market
awareness.
These
insights
are
the
upper
hand.
Any
solu<on
or
pitch
that
meets
these
nuanced
needs
is
relevant
and
will
resonate.
It
shows
that
you
know
what
they
are
really
buying
because
clients
buy
for
their
reasons,
not
yours.
Make
the
People
Connec<ons
We
too
oOen
forget
that
on
the
client
side
there
are
people
taking
a
risk
professionally
on
every
sizable
project.
Authen<cally
and
honestly,
we
need
to
discover
each
person’s
pain
points
and
empathize
with
them
in
meaningful
and
concrete
ways.
When
you
show
you
get
it,
that
is
the
start
of
a
real
rela<onship.
Be
Passionate
or
Take
a
Pass
The
right
team
should
be
passionate
for
the
client’s
business,
industry,
situa<on
and
people.
It
sounds
trite
but
passion
sells.
Not
faked
passion
(“we
are
so
excited
about
working
with
you”)
but
real,
undeniable
enthusiasm.
Passion
can
be
contagious.
In
some
situa<ons,
passion
can
even
trump
talent
(but
do
not
stack
your
team
that
way!).
Passion
draws
people
in
so
send
your
most
fiery
and
fervent
folks
or
take
a
pass.

7. ‘Show’
a
Story
All
pitches
are
theater.
All
should
tell
a
story.
The
most
memorable
pitches
show
that
story
and
prove
it
crea<vely.
We
have
all
heard
impressive
tales
of
agencies
building
supermarket
aisles,
retail
stores
or
rolling
in
a
prospec<ve
client’s
automobile
to
create
theater.
One
very
famous
story
has
been
mistakenly
aNributed
to
Saatchi
&
Saatchi
but
it
was
Allen
Brady
&
Marsh
(ABM)
who
won
the
Bri<sh
Rail
account
in
a
very
innova<ve
way.
Execu<ves
of
Bri<sh
Rail
arrived
at
ABM
for
the
pitch.
An
uninterested
recep<onist,
filing
her
nails,
made
them
wait
in
the
foyer.
The
room
was
made
up
of
coffee-­‐stained
tables,
overflowing
ashtrays
and
no
chairs.
Time
passed
and
nobody
came
to
greet
them.
Furious
at
this
shoddy
treatment,
the
Bri<sh
Rail
team
began
to
leave
in
a
shared
fury
when
Peter
Marsh
and
his
team
appeared.
"That
is
how
the
public
sees
BR,"
Marsh
told
them.
"Now
let's
see
what
we
can
do
to
put
it
right."
The
fact
is,
99%
of
pitches
take
place
in
a
boardroom
with
a
screen
and
a
couple
of
flipcharts
but
that
should
not
rob
a
pitch
of
solid
storytelling.
It
means
pung
yourself
in
the
client’s
shoes.
No
one
likes
to
be
sold
or
told
anything.
Your
pitch
must
employ
facts,
cases
and
examples
to
lead
the
client
through
your
logic
and
method
of
problem
solving.
When
this
is
done
right,
they
will
arrive
at
your
conclusion
before
you
do
and
feel
a
part
of
it.
We
also
need
to
remember
that
while
agencies
pitch
oOen
it
is
an
unusual
event
for
the
prospec<ve
client.
They
want
to
be
entertained
but
they
also
want
to
get
to
the
point.
Make
your
story
rich,
compelling
and
relevant
but
get
to
it
without
excessive
preamble.
Make
it
a
movie
without
the
ads
and
trailers.
7

8. what
you
have
to
do
or
be
penalized
what
you
have
to
do
to
stand
out
what
you
have
to
do
to
influence
the
decision
follow
instruc<ons
define
meaningful
roles
go
jargon-­‐free
be
the
brand
build
chemistry
blocks
hype
execu<onal
excellence
find
the
real
agenda
make
the
people
connec<ons
be
passionate
or
take
a
pass
‘show’
a
story
stress
account
management
showcase
industry
experience
claim
what
is
uniquely
yours
be
adaptable
not
pliable
leave
a
reminder
listen
carefully
give
a
reason
to
believe
give
a
reason
to
buy
ask
for
the
business
and
mean
it
three
categories
cri<cal
to
successful
pitching
8

9. Stress
Account
Management
Strategic
thinking
and
colorful
crea<ve
is
always
sexy
but
there
is
a
very
tangible
way
to
stand
out
that
few
agencies
feature.
One
of
the
most
essen<al
components
of
a
successful
client
and
agency
rela<onship
is
brilliant
account
management.
I
recommend
not
only
showing
the
slide
with
the
organiza<onal
chart
of
your
team
but
take
<me
to
speak
of
your
account
management
and
have
the
account
people
talk
about
their
profession.
Stress
account
management
in
the
pitch
because
it
will
certainly
be
stressed-­‐out
when
you
win.
Showcase
Industry
Exper<se
Clients
are
not
interested
in
taking
<me
to
acclima<ze
agencies,
they
want
someone
to
come
in
and
start
running.
It
is
no
longer
about
claiming
some
vague
connec<on
to,
let’s
say,
retail.
Agencies
now
have
to
clearly
demonstrate
a
range
of
knowledge
that
may
include
command
of
consumer
insights,
regulatory
issues,
pop-­‐up
stores,
labor
laws,
just-­‐in-­‐
<me
merchandizing,
digital
coupons
and
so
much
more.
Smart
clients
demand
industry
depth
so
it
is
important
to
get
out
ahead
and
prove
you
pass
the
test.
Claim
What
is
Uniquely
Yours
True
differen<a<on
amongst
branding
firms,
ad
agencies,
marke<ng
services
and
other
crea<ve
businesses
is
thin.
Any
claims
of
difference
are
quickly
copied
but
if
your
agency
has
something
proprietary
then
highlight
its
relevance.
Unique
methodologies,
technology,
research,
and
partnerships
are
credible
examples
of
investments
that
prospects
will
appreciate.
While
heading
marke<ng
at
Interbrand,
we
ensured
we
owned
the
measurement
of
brands
given
our
investment
in
a
proprietary
methodology.
This
manifested
itself
in
The
Best
Global
Brands
Report
that
spun
off
into
industry,
topics
and
country-­‐specific
edi<ons.
Interbrand’s
marke<ng
s<ll
leads
with
this
differen<ator.
Be
Adaptable
Not
Pliable
It
is
a
fine
line
in
business.
We
want
to
show
we
have
convic<ons
and
will
not
stray
from
them.
At
the
same
<me
we
must
adapt
to
each
new
rela<onship
and
situa<on.
Clients
respect
adaptability
but
they
do
want
pushovers.
This
recogni<on
of
adaptable
but
never
pliable
should
be
demonstrated
throughout
the
pitch
process.
Clients
are
not
interested
in
taking
<me
to
acclima<ze
agencies,
they
want
someone
to
come
in
and
start
running.
9

10. Leave
a
Reminder
This
is
not
a
new
insight
but
the
good
old
‘leave-­‐behind’
works.
AOer
listening
to
seven
or
eight
agencies
over
two
or
three
days,
clients
forget
the
content.
Make
sure
you
leave
a
copy
of
everything
that
was
presented,
either
electronically,
via
an
e-­‐mail
link
to
a
microsite,
or
in
hard
copy.
Go
further
if
the
process
and
rules
allow.
Mandi
Lin,
Art
Director
at
Goodby
Dilverstein
and
Partners,
shares
one
stand
out
leave-­‐behind
story.
“We
were
pitching
Sonic
Drive-­‐in.
In
order
to
leave
an
impression
to
the
client,
we
sent
out
a
very
crea<ve
leave
behind
box.
Sonic
is
all
about
dining
in
the
car,
so
we
created
the
whole
dining
experience.
The
box
was
made
with
metal
and
looked
like
the
back
of
the
car.
Inside
the
box,
there
were
the
presenta<on
deck
made
with
red
leather
cover,
the
custom-­‐made
glove
for
grabbing
greasy
food,
the
map
with
all
the
sonic
loca<ons,
“Sonic
on
board”
car
magnet,
USB
key
with
all
our
digital
deck,
and
the
car-­‐
freshner
with
the
smell
of
the
hot
dog
and
tater
tots.
I
worked
closely
with
the
vendor
to
design
everything
from
scratch.”
Mandi’s
example
is
fun,
different
and
relevant.
10
What
you
have
to
do
to
influence
the
decision
It
is
important
to
remember
but
as
fancy
as
the
pitch
process
is,
it
is
selling.
So
many
agencies
are
afraid
(or
do
not
know
how)
to
sell
and
that
means
they
control
liNle
of
their
own
des<ny.
Listen
Carefully
Think
about
the
people
you
like
and
trust.
They
are
oOen
people
who
listen
to
your
problems,
ask
ques<ons
about
your
life
and
offer
sugges<on
and
advice.
They
are
not
ones
to
yak
on
and
on
non-­‐stop
when
you
ask
them
a
ques<on.
The
best
salespeople
tune
in
because
they
are
trying
to
understand
the
true
needs
of
the
client.
We
know
that
listening
is
integral
through
the
en<re
agency
selec<on
process
and
in
the
pitch.
Yet
too
oOen,
a
mixture
of
pressure
and
adrenaline
has
us
go
in
with
our
own
<ght
agenda
while
s<cking
to
a
rigid
script.
Paul
Boross
offers
a
solu<on
in
his
book,
The
Pitching
Bible.
He
suggests
that
you
don’t
plan
for
what
you
want
to
say,
plan
for
what
you
want
the
audience
to
do,
so
rather
than
spending
<me
rehearsing
your
words,
spend
<me
rehearsing
the
result
you
want
to
achieve.
This
works
and
I
guarantee
you
will
change
the
tradi<onal
way
you
are
probably
pitching
today.

11. Give
a
Reason
to
Believe
Prospec<ve
clients
sit
in
judgment
of
each
pitch
or
stage
of
pitch.
In
front
of
them
is
a
formal
and
informal
scorecard.
By
<me
of
the
final
pitch
they
are
fa<gued.
The
last
long
one
I
was
involved
in
ini<ally
selected
16
agencies
through
a
Request
for
Informa<on.
They
narrowed
it
down
to
8
based
on
return
of
creden<als,
6
were
then
chosen
based
on
chemistry
from
ini<al
mee<ngs
(I
thought
they
should
have
willowed
further),
3
for
the
final
pitch,
and
then
one
final
successful
agency.
The
length
of
this
process
can
actually
work
against
all
agencies.
That
is
why
it
is
important
to
give
the
client
a
reason
to
believe
at
each
mee<ng.
This
means
being
progressively
enthusias<c,
fresh
in
perspec<ve
and
offer
new
insights.
This
will
give
them
a
reason
to
believe
in
you,
your
team,
and
your
agency.
Providing
a
reason
to
believe
can
also
be
thema<c
and
run
throughout
the
selec<on
process.
A
B2B
focused
agency
pitched
soOware
security
company
McAfee
and
used
a
play
on
the
company’s
tagline,
“You
Live
Your
Digital
Life.
We
Keep
It
Secure.”
Thye
posi<oned
their
en<re
pitch
as,
“You
deliver
security.
We
bring
it
to
life.”
Corny,
perhaps,
but
it
was
memorable
and
relevant.
Give
a
Reason
to
Buy
Pitches
are
about
chemistry
and
the
start
of
a
(hopefully)
long
rela<onship.
They
are
also
ar<ficial.
They
mask
the
fact
that
it
is
s<ll
a
transac<on,
a
sale.
That
means
you
have
to
give
the
client
a
reason
to
buy
at
each
stage.
You
have
to
bundle
your
differen<ators,
highlight
the
tangibles
and
package
them
all
convincingly.
This
works
best
when
you
focus
on
benefits
&
outcomes,
not
solu<ons.
At
this
stage
in
the
process,
clients
want
you
to
focus
on
the
ends,
not
the
means.
Describe
what
you
will
accomplish
for
their
customers,
not
how
you
get
them
there.
Agencies
have
egos.
They
forget
that
no
client
is
hiring
an
ad
agency
for
adver<sing
nor
a
marke<ng
consultancy
simply
because
they
want
to,
they
want
more
sales.
So
sell
sales,
talk
about
that
outcome
and
what
it
can
mean
for
the
client’s
customer’s
business
or
life.
How
you
demonstrate
this
is
the
best
reason
you
can
give
a
client
to
buy
because
a
sale
is
not
something
you
pursue;
it
is
what
happens
while
you
are
already
immersed
in
serving
the
client.
Ask
for
the
Business
and
Mean
It
The
eminently
quotable,
David
Ogilvy,
may
have
said
it
best,
“In
the
modern
world
of
business,
it
is
useless
to
be
a
crea<ve
original
thinker
unless
you
can
also
sell
what
you
create.
Management
cannot
be
expected
to
recognize
a
good
idea
unless
it
is
presented
to
them
by
a
good
salesman.”
The
pitch
process
is
a
sale
wrapped
in
suspect
inten<ons
and
sprinkled
with
ar<ficial
rela<onship
sprinkles
(that
is
probably
one
of
the
weirdest
sentences
I
have
ever
wriNen).
What
I
am
aNemp<ng
to
communicate
is
though
the
agency
selec<on
process
is
refined
and
professional,
it
is
no
different
than
any
other
sale.
One
of
the
biggest
lessons
in
sales
is
to
ask
for
the
business.
Too
many
agencies
assume
they
present
well
and
have
impressed.
Then
they
wait
for
the
results.
The
smart
ones
ask
pointedly
for
the
sale
just
like
a
smart
serving
person
asks,
“What
drink
can
I
get
you?”
versus
“Can
I
get
you
a
drink?”
See
the
difference?
11

12. Wrapping
Up
with
Another
Rant
Casey
Stengel
of
baseball
fame
was
nicknamed
"The
Old
Perfessor".
He
was
both
player
and
manager
with
priceless
observa<ons
on
the
game
and
life.
Two
of
my
favorites
are,
“There
comes
a
<me
in
every
man's
life,
and
I've
had
plenty
of
them.”
and
“They
say
some
of
my
stars
drink
whiskey,
but
I
have
found
that
ones
who
drink
milkshakes
don't
win
many
ball
games.”
More
relevant
to
this
paper
is
his
line,
“Most
games
are
lost,
not
won.”
That
is
absolutely
true
in
the
case
of
pitching.
You
may
not
win
every
<me
but
you
will
avoid
losing
more
than
your
fair
share
by
knowing
what
you
have
to
do
or
be
penalized,
what
you
have
to
do
to
stand
out,
and
what
you
have
to
do
to
influence
the
decision.
Jeff
Swystun
President
and
Chief
Marke<ng
Officer
416.471.4655
Author’s
Note
Pitching
is
here
to
stay
but
one
way
to
improve
your
business
development
is
to
develop
a
smart
go-­‐to-­‐market
strategy.
By
targe<ng
your
most
relevant
and
desired
clients,
you
may
avoid
the
pitch
process
or
at
least
set
yourself
up
to
stand
out
more
when
that
pitch
rolls
around.
Please
check
out
our
paper,
The
Missing
Middle
of
Marke<ng,
on
how
to
do
this
right.
12