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As you conduct your analysis, you are also building client relationships Through fact- nding interviews and other meetings, you get a good glimpse of the organization, its people, and how they do their jobs And they ll get to know you, too That exposure is invaluable as you map out your eventual sales strategy Jumping into the fray of a buyer s organization to ferret out causes is hardly hazard free, and it often means poking into sensitive subjects, such as people s competence and job duties If you move through this process tactfully and effectively, expect to advance your sale Drop the ball here, and expect the buyer to send you packing Remember, this is not the time to push for a speci c solution, but to listen and observe.

Coming back to the Acme example, the way forward is to deconstruct the process that brought up the problem in the rst place That will give you ideas about what s really causing the problem Assume that the client s collection process has three major components: reviewing accounts, contacting past-due customers, and collecting past-due balances Scrutinize each step in the process, looking for potential points of weakness or failure Perhaps the staff s daily reviews are inconsistent, or the customer contact script is ineffective, or the cash collection process is not keeping up.

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Once you narrow down the source, and the client agrees that you are on the right track, you can comfortably explore potential answers to the question, What can or should we do to address the problem Like the tale of the three blind men trying to identify an elephant by touch alone, you will get diverse opinions about why any problem is occurring You need to hear those opinions and evaluate them, but eventually you need facts Each time you hear a claim, ask for supporting data If someone suggests that poor customer follow-up is causing the lags in cash collections, ask for the evidence That proof could be in the form of a report, externally generated information, such as a research study, or by your own con rmation of what you learn.

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You have an infinite number of reference characters available to you (just walk down a city street if you can t think of anything new). If you don t know where to start, then try starting with a human figure. The nice thing about modeling a human is that an example is close by (try looking in the mirror). We all know the basic structure of humans: two arms, two legs, one head, and no tail. If your character is human, then starting with a human character and changing elements as needed is the easiest way to go. As you begin to model human figures, being familiar with anatomy is helpful. Understanding the structure of muscles and skeletal systems helps explain the funny bumps you see in your elbow and why muscles bulge in certain ways.

As mentioned in the previous chapter, be sure you don t base your diagnosis, or your proposed solution, on uncertain facts One effective way to probe causes is to follow the advice of Taiichi Ohno, the pioneer of the Toyota Production System Ohno believed that every problem was an opportunity in disguise and that having no problems was the biggest problem of all Whenever a problem emerged, he encouraged his engineers to ask why questions ve times in succession By persistently asking why, Ohno was con dent that anyone could get to the root cause of a problem and see the solution..

Robert Graves, I, Claudius: From the Autobiography of Tiberius Claudius, Born B. C. X, Murdered and Dei ed A. D. LIV (1934; rpt. New York: Vintage, 1961; several rpts.), 108 109. 42 Pollio wrote seventeen books of Histories; Livy s gigantic (epic ) work was in 142 volumes, of which thirty- ve survive complete, many others in epitomes that are all too brief. 43 Hayden White, Metahistory: The Historical Imagination in Nineteenth-Century Europe (Baltimore: Johns Hopkins University Press, 1973; several rpts.), 1 42; see especially 7 11 ( Explanation by Emplotment ) and 29 31 ( The Problem of Historiographical Styles ).

A 3 B 4 C 1 D 2 TOTAL Divide the AVERAGE TOTAL by the number of respondents to enter AVERAGE. Divide the AVERAGE TOTAL by the number of respondents to enter AVERAGE. Divide the AVERAGE TOTAL by the number of respondents to enter AVERAGE.

Tables C-16 through C-22 show shortcut keys that work with the various dialog boxes. The dialog box must be selected for these shortcuts to work. It is possible for modeless dialog boxes to have the dialog box visible but not selected.

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