Casting Customer Service: Session 2
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![3
Metropolitan Opera
“Even when we mistreated our patrons, they were coming
back, because they loved the opera. But that was no reason
to do it.”
Joseph Volpe, Former General Manager of the Metropolitan Opera
“If we had been rude to a client, would he give us another
g
dime? He might still buy tickets from us, because he loves
opera, but he will certainly not contribute to our fundraising
campaigns. We had to delight our customer so that they
p g g y
would remember their great experience with us when we
would ask them for support. […] We had no mechanism to
capture the voice of customers and collect their
p
complaints” adds Sharon. “We had no idea how they felt
about us. If you don’t measure it, you don’t know it and you
can’t change it.”
g
Smeeta Sharon, Former Assistant General Manager, Metropolitan
Opera](https://image.slidesharecdn.com/philipperavanasonpatronexperienceii-100309102621-phpapp02/85/Casting-Customer-Service-Session-2-3-320.jpg)
![4
Chicago Symphony Orchestra
“By the 1950s, we intellectualized the whole thing and
turned our back to the public. Most orchestras across the
country, particularly the largest ones, focused inward and
became rather unwelcoming. Their message to the public
seemed to be: we do what we want and we will bless you
with the opportunity to buy a ticket to come to hear what
we like to play. It became a social thing to do for the elite.
That worked for a while because people were proud of
their orchestras and still really wanted to hear them. Not
any longer. We now have so many vehicles for music,
from TV to CDs. And customer service has improved in
almost every industry. We have to provide our customers
with an unparalleled experience. […] We have to stop
showing our back to the audience and turn to face it.”
Deborah Card, President, Chicago Symphony](https://image.slidesharecdn.com/philipperavanasonpatronexperienceii-100309102621-phpapp02/85/Casting-Customer-Service-Session-2-4-320.jpg)
Casting Customer Service: Session 2
- 1. Improving Patron Experience E i II. Designing Philippe Ravanas Professor Columbia College Chicago 1
- 2. 2 Customer Service Management Cycle Customer Service Customer Service Where it is now Where you want it to be Stage 1 Stage 5 Understand the service Provide proactive p seekers Problem solving Stage 2 Design experience Stage 4 S & Set Standards Check up regularly Stage 3 Build & train a winning team Ultimate goal: Understand how to move patrons along the value continuum, from single ticket buyers, to subscribers and to donors
- 3. 3 Metropolitan Opera “Even when we mistreated our patrons, they were coming back, because they loved the opera. But that was no reason to do it.” Joseph Volpe, Former General Manager of the Metropolitan Opera “If we had been rude to a client, would he give us another g dime? He might still buy tickets from us, because he loves opera, but he will certainly not contribute to our fundraising campaigns. We had to delight our customer so that they p g g y would remember their great experience with us when we would ask them for support. […] We had no mechanism to capture the voice of customers and collect their p complaints” adds Sharon. “We had no idea how they felt about us. If you don’t measure it, you don’t know it and you can’t change it.” g Smeeta Sharon, Former Assistant General Manager, Metropolitan Opera
- 4. 4 Chicago Symphony Orchestra “By the 1950s, we intellectualized the whole thing and turned our back to the public. Most orchestras across the country, particularly the largest ones, focused inward and became rather unwelcoming. Their message to the public seemed to be: we do what we want and we will bless you with the opportunity to buy a ticket to come to hear what we like to play. It became a social thing to do for the elite. That worked for a while because people were proud of their orchestras and still really wanted to hear them. Not any longer. We now have so many vehicles for music, from TV to CDs. And customer service has improved in almost every industry. We have to provide our customers with an unparalleled experience. […] We have to stop showing our back to the audience and turn to face it.” Deborah Card, President, Chicago Symphony
- 5. 5 Steppenwolf “We have to make our guests happy the moment they get in. We have to make them think, ‘this is different, I walked in here and somebody greeted me.’ We are constantly yg y telling our box office people, our front of house people – even our parking people: ‘you are the first impression. Whatever you do, however you look, however you treat y , y , y that person… you have more power to create a feeling for that evening than the actors on stage do. And if you screw it up on the phone or at that window, if you don’t have the don t right information and create the wrong impression, then you screw it up for the actors on stage. They don’t have a chance if you didn t do your job well. didn’t well.’” David Hawkanson, Executive Director, Steppenwolf Theater
- 6. 6 Service convergence / divergence
- 7. 7 The 5 elements of service design Applying product design methods to service dev. pp y g p g 1. Focus on the customer journey Think full customer experience Analyze every touch points 5 stages: Attraction, Entry, Immersion, Exit, Extension stage ( (source: Doblin G ) bl Group) Identify physical evidences at each stage - moment of truth 2. Tell a story Integrate every touch points & bring a story to life (Chevignon, Governor’s table) Rituals are key to communicate stories Denis Weil, VP, Innovation & Concept Development - McDonald’s
- 8. 8 The 5 elements of service design 3. Improve AND simplify process Customers want Choice & Control (exchange policy at CSO) Smoothness of experience: no stress, no surprise 4. 4 Experiment i get it off the page to prototype - Make it real Build B ild scenarios i Think in terms of extreme users How to provide the right queues
- 9. 9 The 5 elements of service design 5. Think big, star small Imagine far, plan near Develop a line of sight: what would be the ideal customer experience, if money was not the issue - what if we had no constraints? h t h d t i t? Disney’s imagineers/Blue Sky C q e d So e Cirque du Soleil / Blue Ocean : don’t compete on e cea do t co pete o ticket price: Create an exceptional experience Test & ask
- 10. Measuring progress Online Annual Questionnaires Feedback Customer Forms Satisfaction Surveys Online Polls Customer Service CRM Other Feedback Software Surveys (Benchmarking, Employee…) Focus Groups Phone (Formal/ Surveys informal)
- 11. 11 Layers of design Service S i operations process d i i design: activities needed to deliver or maintain a service. Ex- steps needed to rent a car- collect p license, validate payment option, check availability, obtain customer signature. Service product d S d design: d design of the f h physical attributes of the service. Ex- meals served at the restaurant Service facility design: design of the physical layout of the facilities where the service delivered. Ex- A restaurant interior i d li d
- 12. 12 Service Blueprinting A tool for simultaneously depicting the service process, the points of customer contact, and the evidence of the service from the customers point of view. (Marie Jo Bittner – U. of Arizona) Process Service Points of contact Blueprint Evidence Marie Jo Bittner , Professor – University of Arizona
- 13. 13 Building a Service Blueprint Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Identify Id if Identify Id tif Map th M the Map M Link Li k Add the the process contact contact evidence process customer from the employee activities of service to be or customer’s actions, to at each blue- bl customer t point of i t f onstage t needed d d customer t printed segment view and back- support action stage, functions step and/or technology t h l actions
- 14. 14 Service blueprint : Key components Physical evidence Customer actions Line of interaction Onstage contact Employee action Line of visibility Back stage contact Internal interactions Support processes
- 15. 15hysical Ph vidence ev Blueprint for overnight hotel stay service Bill desk/ Desk Hotel Room Delivery lobby hotel/ Carts for registration Elevators exterior i amenities / menu tray/ food ii /f d Food F d exterior t i bags papers Stairs parking bath room appearance parking Customer Lobby key actions Receive bags/ Call room Receive Check out/ Arrive Gives bags Eat shower at hotel To attendant Check in Go to room service food leave C / sleep (Onstage ) Greet & Process Deliver Process take bag registration bags Deliver food checkout on Contact perso (Back stage) C Take bags Take T k to room food order Registration Registration Support processes Prepare food system system Fail points
- 16. 16 Classification of employees 1. Contactors Directly involved - regular customer contacts Well Trained/motivated to serve customers on day to day basis - recruitment based on responsiveness Ex: front d k pl E f t desk employees 2. Modifiers Not directly involved but frequent customer contact High levels of customer relationship skills g p Ex: Receptionists
- 17. 17 Classification of employees 3. Influencers Sparse/No Customer contact Implementation of organizational marketing strategy Evaluated according to customer - oriented performance standards f d d Ex: you! 4. Isolators 4 I l t Performance of support functions Critical for better performance Understand Their contribution to better performance Ex: support functions: IT HR accounting IT, HR, accounting…
- 18. 18 Your turn! You ill Y will: 1. Describe customer journey 2. Write th t r 2 Writ the story 3. Use service blue print 4. 4 Think big 5. Measure progress
- 19. 19 1. Describe customer journey List Li every touch points of each stage: A h i f h Attraction, i Entry, Immersion, Exit, Extension stage Identify physical evidences at each stage - moment of truth Engagement Entry Exit Extension
- 20. 20 2. Write the story Integrate every touch points & b i a story to lif I h i bring life What are the key rituals which communicate the story If your organization was a super hero? o r as s per Name of hero Special power(s) Sidekick Arch enemy or villain Special mode of transportation Secret base or headquarters Transformative moment in his/her past ( p (optional) A cliffhanger moment to end the first ) g installment…
- 21. 21 3. Use service blue print To improve AND simplify the process, and smooth the experience Physical id Ph i l evidence Customer actions Line of interaction Onstage contact Employee action Line of visibility Back stage contact Internal interactions Support processes
- 22. 22 4. Think big If you had no constraints, what would be the ideal experience for your customers (The ideal funeral by Bill Russo ) Let’s brainstorm!
- 23. 23 Brainstorming Lateral thinking technique focused on a given problem to: open possibilities break down wrong assumptions about limits of problem Generate many radical ideas / solutions to problem Ideas should be: as broad and odd as possible from every possible angle developed as fast as p p possible introduced and considered no matter how ridiculous or ineffective they might appear on the surface
- 24. 24 Brainstorming Ground Rules 1. No Criticism: Repression & fear of criticism do not encourage creativity. Record every idea. Save evaluation for later 2. Quantity Over Quality: the best way to get a good idea is to get many ideas 3. Free-Wheeling: present one idea at a time, but jot down multiple thoughts or ideas for presentation in the next round. 4. Hitch-Hiking: get ideas from other ideas. Unless second idea is identical to first, record both. first both Let s Let’s go: If you had no constraints, what would be the constraints ideal experience for your customers?
- 25. 25 Reversal Ask the opposite of the question you want to ask, and apply the results. Example: you want to improve the response of a service center. You would ask 'How would I reduce customer satisfaction? satisfaction?'. Answers: Not answering / returning customers phone calls Have people with no product knowledge answering the phone Use rude staff Give the wrong advice, Etc…
- 26. 26 SCAMPER A checklist of changes to make to an existing p product to create a new one. S Substitute: components, materials, people C Combine: mix / integrate with other services, A Adapt - alter: change function, use part of another element M Modify: increase / reduce scale change shape, scale, shape attributes P Put to another use E Eliminate: remove elements, simplify, reduce to core function R Reverse: turn inside out upside down… out, down created by Michael Mikalko in his book ' Thinkertoys'
- 27. 27 Reframing matrix Different people with different experience approach problems in different ways Put yourself in the mind of a (doctor, engineer…) Look at problems with their perspective imagine the solutions they would come up with Draw up a reframing matrix by: p g y Writing a question in a box in middle of page then drawing grid around it Each cell contains one approach to problem
- 28. 28 5. Measuring progress Let’s write a customer satisfaction survey Write 5 specific q p questions to ask in a satisfaction survey Strongly Strongly Disagree Agree 1 2 3 4 5 The ushers were courteous To whom, when & with what frequency to ask these questions “If you can’t measure it, you can’t fix it! If can t can t it!” Smeeta Sharon – Metropolitan Opera
- 29. 29 5 Laws Of Customer Experience
- 30. 30 1. It’s personal Experiences need to be designed for individuals: While it may not be possible to individualize every interaction, focus on narrow segments Prioritize: Since you need to design for specific type of people, experiences will be optimized for a set of customers. Have a clear picture of your important customers. Empower: Since every situation can be different, the needs of customers can vary across i interactions. F i Front-line employees need li l d to have the latitude to accommodate the needs of key customers. You need to understand your customers, personally y ,p y
- 31. 31 2. You are self centered – get over it Don’t let company organization drive experiences: Customers shouldn't have to know (or care) how you are organized. Don’t make them jump through hoops. Front-line g j p g p employees shouldn’t need to explain your structure to customer. You know more than customers - deal with it: there's a natural bias for making experiences too complicated for customers. Recognize that they don’t understand your lingo or processes. Make it simple for them. Don’t ll hi D ’ sell things, h l customers b them: frame help buy h customer experience from the customers point of view. Look at all interactions as an opportunity to help customers to do something. m thin Make the shift from self-centeredness to customer- centeredness
- 32. 3. Align employees on customers, not reverse Many front-liners see themselves as M f li h l controllers, not service providers: can be abusive to the audience. Volunteers can be worse: ex: the saints – “The best deal in town”). Lack f L k of cooperation or coordination across i di i people and organizations is often at fault. Put customer needs ahead of personal or organizational preferences. An external focus is an antidote to internal problems
- 33. 4.Your employees are your customers Unengaged employees don’t create engaged customers: If employees have low morale, then getting them to “ i h “wow” customers will b nearly ” ill be l impossible. Show appreciation: give incentives, acknowledge pp g , g customer service achievements and find ways to celebrate them Maintain an healthy turnover and make sure the job doesn’t get old and routine. Customer experience p depends on employee experience
- 34. 5. You Can’t Fake It Good customer service is work: it requires a commitment of the whole organization There’s no silver bullet: You can fool some people for some of the time, but most of the time people can eventually tell what’s not. “The way to g a g reputation, y gain good p is to endeavor to be what you desire to appear.” Socrates
- 35. 35 Any questions? Thanks! Read for R d f next week: t k Disney on customer service, Mystery visitors, M t i it Watford Customer Care Policy