Museum Audience Insight

Creative Consumers, Extremely Creative Consumers, and Museums

We are delighted to welcome the inaugural article of Sally Johnstone, Senior Consultant at Reach Advisors.  Sally has extensive experience in marketing strategy and works with a variety of economic development, tourism, and community building clients at Reach Advisors.  She is also an amateur musician and enjoys taking her son, Dalton, to children's museums.  You can look forward to more posts by Sally on creativity, the arts, and Generation Y, as well as other topics, in the future.

Museums are wonderful places that share our cultural, and creative, histories.  They are also places of creative inspiration.  And so when we began the analysis of our Generation Y lifestyle research results this summer, we were intrigued to discover a very interesting group of young women (and a few men) setting new standards for creative expression.  Armed with a bedazzler, a fistful of multicolored Sharpies, and tech savvy that would put a NASA engineer to shame, this imaginative group represents 25% of Generation Y (members of the generation born after 1980).  Labeled Creative Consumers, this segment stands in sharp contrast to those at the other end of the spectrum - a segment almost as large that we've dubbed the Plain and Practical, who aren't even likely to draw a smiley face on a notebook.  As we will see, our Creative Consumers are tremendously important to museums.

The first thing we noticed was that Generation Y's definition of creativity has definitely expanded.  Creativity includes traditional activities, such as knitting, but it also includes spending hours to make a MySpace page have a very specific look. 
 
First, the attributes of the Creative Consumers:

Creative Consumers are into customization.  All of them have hand-crafted items themselves, or customized items in ways that go way beyond off-the-shelf options (by off-the-shelf, we mean a commercially available iPod case, computer wallpaper that came with the operating system, a standard MySpace template, etc.).

• Creative Consumers leave their own trademark on their belongings.  They adopt a signature icon such as Betty Boop, or a color that they consider their own, such as purple, that they use to reflect their own personal style.  They are likely to integrate photos of family, pets and friendsor with their own name into their creative works all in an effort to make everything a reflection of their unique personality
• Over 90% of Creative Consumers think that the things they own should reflect their personality, in stark contrast to just 55% of the Plain and Practical who feel likewise.  
• The Creative Consumers are three times more likely than the Plain and Practicals to want their 'stuff' to look different from everyone else's.
• The Creative Consumers are twice as likely to feel that their home should be an expression of who they are.

Creative Consumers are active and extroverted and eager to experience life:

• In their hang-outs, Creative Consumers are more likely to want to pick their own music, be outdoors, and do work or homework in the hang-out.  They are most definitely more social.
• They are twice as likely as the topline to be looking for public space to meet up with those sharing their interests and hobbies.
• Three-quarters meet up with friends somewhere other than home but indoors, compared to two-thirds of the topline, and only half of the Plain and Practical.
• Creative Consumers are nearly twice as likely to be into fitness, team sports and individual sports as the Plain and Practical.
• They are nearly three times as likely to do some form of art or craft; twice as likely to sing or play an instrument; three times as likely to blog as the Plain and Practical.
• If they are parents, their kids are twice as likely to do crafts as the Plain and Practical
• They are more likely than any other segment to enjoy visiting museums in their leisure time:  30% of the Creative Consumers do so, compared to 19% of the Plain and Practical.

Creative Consumers are more connected and active online: 

• Two-thirds of Creative Consumers are socializing while online (IM'ing, updating social networking profiles, checking on friends, emailing) compared to just half of the topline and only a third of the Plain and Practical.
• They are twice as likely as the Plain and Practical to be downloading music, etc.
• They are twice as likely to be visiting news sites online as the Plain and Practical.

 
Creative Consumers like to shop, yet are also greener:

• They are twice as likely to go shopping or travel as the Plain and Practical.
• So it is not surprising that they are twice as likely to be shopping online.
• They are twice as likely to purchase organic or local food; twice as likely to purchase things that help the environment.

There isn't much of a difference when comparing the Creative Consumers to the topline for most demographic measures (except gender, which skews female, like many things Gen Y).  They do not differ greatly from other Gen Ys in:

• Household income
• Education
• Age (within the parameters of Generation Y)
• Parents' education
• Marital/relationship status

For all that Creative Consumers are attractive and engaging young women, there's an even more interesting subset that we decided to call (in a particularly uninspired moment) the Extremely Creative Consumers.  For Extremely Creative Consumers, all of the above observations apply, albeit they feel even more strongly; for example, 97% of the Extremely Creative Consumers think that the things they own should reflect their personality, compared to 90% of the Creative Consumers.

The Extremely Creative Consumers (representing about 15% of the Generation Y women in our study) go even further to be especially artistic, unique, and original in everything they do. They draw, decoupage, collage, tear clothing apart and re-make it to express their personal style, sculpt, write poetry, blogs, fiction, create music, design websites - their activities run the gamut of creative expression accessible today.
 
Even an individual Extremely Creative Consumer's interests are truly wide-ranged, from performing arts to crafts like knitting and sewing.  Check out the list of hobbies enjoyed by this young woman from Hawaii (full disclosure: I am a card-carrying member of the International Society of Bassists).
 
Some Extremely Creative Consumers have figured out a way to profit from their creativity. Ashley Qualls, a teenager who parlayed a gift for creating custom graphics for MySpace pages into a million dollar business, was recently profiled in this case study from Fast Company magazine.

Other extremely creative consumers are not just creating their own works - they're creating documentaries and books about what others are making.  A September 3, 2008 article in the NY Times discusses Faythe Levine's upcoming feature-length documentary "Handmade Nation: The Rise of DIY, Art, Craft and Design" and book.  (An eight-minute teaser from the documentary is available online at her website.)
 
Where is this shift coming from?  Some of it may be the democratization of expression afforded by the Internet.  Some of it is today's relative ease and cheapness with which anyone can acquire the materials needed for art and craft.  And, some of it may be a new Renaissance of creativity sparked in this generation by a multitude of technical, social, and cultural factors.
 
In the end, we have to come back to that museum number: 30% of the Creative Consumers enjoy visiting museums in their leisure time.   These bright young adults are Museum Advocates and the parents-to-be of the next generation of Museum Advocates. What can museums do to help them expand their creative horizons and foster their love of the institutions?  Some ideas:

• Provide an opportunity to gather with like-minded creative people: Creative Consumers like to gather together to practice their craft, share ideas, and socialize with others who enjoy their art. Etsy, an online marketplace for crafters, hosts a weekly Craft Night at their EtsyLabs headquarters.  Young crafters flock to Brooklyn to meet each other, learn from one another, and have a great time.  Museums could do likewise.
• Provide training: Many of the Creative Consumers are at an apprentice phase in their development.  Where else but a museum would the masters be found?  Are there programs and classes that you could offer in both historic and new techniques that would attract these young creatives?
• Provide gallery space:  Recognize their creativity by allowing them to share their work with others in your museum. 

Are you already working to engage this group of creative group of young women?  We would love to hear what you are doing!  Or if this article sparks new ideas for programming, share them as well!   Simply click on “comments” below.  (If you are reading this from your e-mail subscription to the blog, please go to our blog's website to add a comment.)

 

- Sally

Museum Advocates Are Different

People who love visiting museums are different than the general public.  Yet, as we explored last month, even among museum visitors there are differences between those who visit and join museums because they are supposed to do so for their children (becoming core visitors who are not necessarily personally engaged with the museum) and those Museum Advocates who genuinely love (and are emotionally connected to) museums.  The question then becomes how are Museum Advocates different than everyone else - and how can we convert more museum visitors into Museum Advocates?

In our recent lifestyle survey of adults in their 20s and 30s we took a look at the data to see just how Museum Advocates are different.  What we found was that those who love museums think, spend their leisure time, and connect to their world differently.  And they are pretty interesting people to boot. 

So what exactly did we find?  First of all, the percentage of individuals who are Museum Advocates does not change with age; either they love visiting museums, or they do not.  But what museums they actually visit does change with lifestage.  That is, specific museum visitation is often determined by the age of any children in their lives.

Museum Advocates also tend to have, not unexpectedly, higher educational attainment than the rest of the population, and their parents tend to have higher educational attainment as well.  We believe this indicates that most Museum Advocates grew up visiting museums with their well-educated parents, and these family experiences nurtured a love of museums that continues today.  Promising news as college educational attainment continues to increase, but one big question is what other pathways exist to create Museum Advocates out of some of the 72% of adults without college degrees.

Social and Connected . . . By Choice

The image of the young adult glued to the computer screen all the time is not true of Museum Advocates.  While they are heavy users of technology to facilitate their lives, it certainly does not take the place of real-life socialization and activities (though they do expect, simply expect, wireless Internet access in public places).  Instead, they are more likely than the general public to seek out public places for those with similar interests to meet, such as book clubs or knitting groups.  They are more active socializers with their friends, and they are seeking public places to meet up with peers and family. 

Omnivorous Cultural Consumers

These busy adults in their 20s and 30s are also wide-ranging in their cultural interests.  They are much more likely to cite reading books and magazines as an enjoyable way of spending their leisure time.  These Museum Advocates are also significantly more likely than their peers to enjoy travel, live theatre, classical music and opera, and live music.  Unsurprisingly, then, cultural activities are far more important to them than to the general public.

Curating Their Lives

Compared to the general public that does not self-identify as enjoying visiting museums, these younger Museum Advocates are much more creative and keyed into aesthetics than their peers.  They are customizing their belongings, and curating their lives, by making careful, thoughtful selections based on individual taste and what image those selections project.  They feel much more strongly that their stuff reflects their personality and should simply look different than other people's stuff.  And they also feel more strongly that home is a refection of their identity. 

How do they do this?  By customizing their clothing, fashion accessories, cell phones and iPods, virtual spaces, and their personal spaces, both at home and at work.  They are also significantly more likely to create or view arts and crafts, including photography, scrapbooking, journaling and/or blogging, going to crafts fairs, and participating in children's art activities. 

Socially and Environmentally Aware

Compared with the general public, Museum Advocates are more philanthropic, and living greener lives.  They are more likely to donate money to charity, volunteer, and to purchase products that help causes they care about.  Additionally, they practice what they preach by actively recycling, buying organic and/or local foods, seeking greener transportation, spending more for a green product, and changing their lifestyle to live more lightly on the planet - all to a greater extent than their peers who are not as emotionally connected to museums.

A Refuge for the Family

Young adult Museum Advocates, with their busy lives, are also seeking places of refuge.  They are much more likely to seek out quiet spaces, away from crowds, and to think of home as a place of retreat and sanctuary.  Additionally, those Museum Advocates that are already parents are more likely than other parents to identify family learning as being a top priority in their lives, especially outdoor family opportunities.

Museum Advocates and Adults in their 20s and 30s

So what does this mean for museums?  Clearly, the things that Museum Advocates love to do, and the activities they undertake to help society and the planet, correlate extremely well with the missions of museums.  Additionally, we believe that many of the traits that set Museum Advocates apart among young adults are representative of Museum Advocates of all ages.  Thus, the question then becomes how do we grow the Museum Advocates audience, converting more of our core visitors and the general public into Museum Advocates?  We might not have the answers now, but this research does begin to shed light on where an individual museum might tap into a larger audience base.  Additionally, it gives us some ideas of how museums can continue to evolve to better serve adults in their 20s and 30s and become even more important in their lives. 

For museums hoping to reach more Museum Advocates, especially those that are in their 20s and 30s, some questions to consider:

• Can museums become the hangout for Generation Ys in their 20s?
• Can museums become the top choice for family learning and family time?
• Can museums encourage more social engagement?
• How can museums help individuals curate their lives?
• How can museums encourage and inspire creativity?
• How can museums promote cultural engagement?
• How can museums become a place of refuge and retreat for more people?

Over the next few months we will continue to dig further and learn more about what sets Museum Advocates apart, and what we can do to instill that emotional connection to museums in more children and adults.  Stay tuned!

We would love to hear your thoughts . . . simply click on "comments" below.  (If you are reading this from your e-mail subscription to the blog, please go to our blog's website to add a comment.)

Museum Advocates - Not Your Standard Visitor

Museum Advocates.  Just the sound of the phrase creates the image of someone who believes passionately in museums. 

But what is a Museum Advocate exactly?  How are they different than the other visitors to your museum?  Why are they difficult to distinguish?

A couple of weeks ago, we were working through some data from a recent lifestyle survey that we ran outside of the museum field.  In that survey, we had asked how respondents liked to spend their leisure time, and gave 15 options, of which visiting museums was one.  23% of respondents chose visiting museums, and those respondents were then asked what types of museums they like to visit.  When we saw the results, we were surprised by their responses, and looked to our recent studies on children's museum visitors (for ACM - the Association of Children's Museums) and outdoor history museum visitors to compare.  The difference was striking; those who self-identify as enjoying visiting museums in their leisure time were much more likely to visit more types of museums than respondents to our museum surveys.

So what is going on?

To dig deeper, we pulled out one demographic group that had statistically stable data across all three surveys:  moms in their 30s.  And then we charted their museum visitation.  This is what we found:

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For zoos/aquariums, children's museums, and science centers, visitation is high for all three response pools.  This makes a lot of sense as these are the types of museums moms with young children, our sample here, are most likely to visit, but these are also the museum types that have the lowest perceived barriers of entry.

Things changes as you go across the chart, however, with Museum Advocates showing higher visitation across the board, at times by over 50 percentage points (with the exception of outdoor history visitors who, by default, clocked in at 100% for historic sites).  Museum Advocates are much more likely to go to more museums of all types, regardless of any perceived barriers of entry or not. 

Simply put, the core visitors from our museum surveys go to fewer museums than those who self-identified as enjoying visiting museums from a non-museum survey.  There is a clear difference between them, and when we puzzled over how to describe this, we realized that we can segment the general public into four groups, seen below:

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For the general public, museums are not really on their radar screen.  If they find themselves in one, it is a rare occurrence.  Within that circle, however, you have the casual visitor who may find themselves in a museum every now and then, but do not typically seek them out.  Additionally, they are unlikely to be members. 

The core visitors are different. They are members and supporters of museums, are on e-mail lists, and respond to the surveys we field.  They like their local museums, and visit the appropriate ones for their children's ages and interests.  But what seems to be lacking is an emotional connection to the museum. A connection that Museum Advocates feel and that manifests itself in a pattern of museum visitation and long-term commitment unlike that of core advocates. 

So the question becomes "how do you turn those core visitors into Museum Advocates?"

There are two immediate answers.  First, we believe that there are some core visitors that can be converted into Museum Advocates.  To do so, museums have to understand the needs and interests of those core visitors, and provide mission-based programs and exhibits that appeal to the intellect, and emotions, of those visitors, creating that long-term connection and commitment. 

Secondly, the children that core visitors bring to museums are future Museum Advocates. Our research indicates that Museum Advocates have parents with higher educational attainment than other visitors, which we believe indicates they were more likely to visit museums as children, creating the museum-going habit.  Children visiting today are developing a habit of museum visitation at a young age that museums would do well to encourage to grow into a long-term connection and commitment. 

This short article only begins the conversation about Museum Advocates.  Check back on our blog over the next few weeks for more on how the lifestyles of Museum Advocates are different than other visitors and non-visitors, and to dig deeper into 30s moms as core visitors, but not Museum Advocates. If you have thoughts or comments on this article, be sure and click on "comments," below. 

Authenticity and Museums

Authenticity. You see the word everywhere. 

Flipping through a recent issue of a travel magazine, I saw it describing Paris (how to find "hidden nooks of authenticity"), and Fez ("the most haunting and authentic medieval city in the world"). New York City has pockets of authenticity too - "high fashion and authentic fare now line New York streets once crowded with immigrants."  Never mind that that statement makes no sense. And are you a "real traveler . . . someone who cares about authenticity?"  If so, the magazine may want you on their reader panel.   

So is authenticity the latest buzzword?  Or is it vitally important to museum visitors?

Three months ago, I would have been in the buzzword camp.  Now, I have changed my mind.  What changed it?  Well, we asked over 5,000 visitors to outdoor history museums to share their thoughts, and 3,000 raised authenticity as an imperative for museums.  That is a stunning response to a written-in question on a survey. 

And what does it mean?  In short, "everything," as one respondent put it.  Being authentic is critically important to museum visitors, and a huge challenge to museums because in addition to being important, it is expected by visitors. Museums then have to meet those significantly higher expectations . . . a challenge not necessarily true of museums' competitors for visitor leisure time.

But what does authenticity mean to visitors?  And how do you signal it?

Interestingly, what they said applies to museums of all types.  58% of the comments reflected a desire for visitors to know the information provided to them is grounded in research.  They used words like "honest," "true," "correct," and "facts."  For the majority of these visitors, then, it is a trustworthiness issue.  If they do not trust what you present, you are not authentic to visitors.   (As a quick aside, we are asking about trustworthiness in our ASTC survey currently out in the field, so you will be hearing more on this issue from the perspective of science museum visitors this fall!)

A quarter of the respondents felt that authenticity meant the real thing, using words like "real," "honest," and "actual."  For a history museum, it means they want to know if the object in front of them is the actual one used by George Washington, and not a reproduction or a replica.  Or a fake - because if it not the actual one, and you do not say it, the object, and your museum, are now firmly in the fake camp . . . decidedly not where you want to be.

Respondents used interesting words to describe what was not authentic to them, including:

• fake stuff
• commercial
• "made in China"
• Disney
• fictionalized
• romanticized
• plastic

Anything that made them feel they were being cheated of accuracy, angered them. 

So how do you signal authenticity, and what are the faux flags?  Our respondents indicated that the deeper and more immersive their experience was, the more authentic, and desirable, they found it. Those experiences, particularly in outdoor history museums, are highly contingent on the interpretive staff that dress in the period, sometimes act of the period, and share what life was like in a certain time.  The enthusiasm, engagement, and interest of the staff, and how important that was to visitors, reaffirmed for us that hiring for attitude is far more important than hiring for aptitude. It is much harder to train staff to be friendly than it is to train them to demonstrate a historic trade. Other signals of authenticity include attention to details (no sneakers on 18th-century interpreters), careful site planning to minimize the appearance or modern facilities, and opportunities to create handmade takeaways (because anything you make yourself is authentic). 

Faux flags included technology at historic sites (such as televisions or computers), commercialization, and proclaming authenticity.  In short, if you proclaim you are authentic, you immediately raise doubts that perhaps you are not authentic.  If you are authentic, which museums are, pretty much by definition for visitors, then you do not have to proclaim it.  They know.  Now signal it. 

This short article only skims the surface of what authenticity means to visitors.  If you have thoughts or comments, be sure to click on "comments" below. 

We have loads more on this topic, particularly as the meaning of authenticity changes from visitor to visitor, it changes based on lifestage, and it changes based on gender and education.  We will be sharing more of this data at the AAM meeting in Denver as well in further articles on our blog.  So stay tuned!

Family Amenities Checklist

We all want to make our museums more enjoyable places to visit.  Providing amenities that make families (as well as other visitors) feel special and welcomed make a big difference in the overall museum experience. But what are those special amenities that museums can provide?  To find out, we put out a call on our blog to submit ideas for a family amenities checklist, and here is what were recommended. 

Overall: Museum should be clean and tidy.  This is especially important to the current generation of parents, and focus should be given to restrooms and food service areas. 

Restrooms / Nursing Areas

• Handicapped restrooms that can do double-duty as family restrooms
• Stools to help little one reach sinks
• Diaper changing stations (in family, men's, and women's restrooms)
• Seat in family restroom for buckling in young children while parent uses facilities
• Nursing rooms for private nursing (not a restroom)
• Stash of disposable diapers in case a visitor runs out
• Spare clean children's clothes . . . just in case

Food Service

• Designated place for snacks, inside and out (especially if there is no food service available)
  
• High chairs and booster seats
  
• Child-friendly menu options
• Peanut-free food preparation (including no peanut oil)

Exhibit Amenities

• Children's activity pages
• Interactives that involve small groups rather than one person
• Labels that use language parents use when talking to their children
• Outdoor trails and exhibits
• Family tracks on audio guides
• Stools to reach interactive components

Safety and Miscellaneous

• Small baggies with ice cubes in freezer (for bumps and bruises)
• Assorted bandages, etc.
• Covers for all electrical outlets
• No exposed cords
• All cleaning supplies secured
  
• Benches, lots of benches and seating (this is great for visitors of all ages!)
• Stroller loan

Expectant Moms - for special events, please keep in mind the dietary restrictions for pregnant women and ensure alternatives are available. 

• No cold cuts (meats should be steaming hot)
  
• No unpasteurized soft cheese
• No unpasteurized apple cider
• Some restrictions on meats with nitrates and/or nitrites
• Some restrictions on caffeine
• Some restrictions on seafood

While some of these items take time and effort, others are easy to accomplish in a very short period of time - and all go a long way to making families feel important to your museum.  A surprising number of parents will notice (and speak well of you to others) when you make this accommodation very visible...and notice when you don't.

Thanks to the following individuals and/or museums who contributed to this list:

Ken Bubp - Conner Prairie
Strong National Museum of Play
Connecticut Landmarks
Jeff Stern - Museum of Life and Science
Tricia O'Connor - The Children's Museum of Indianapolis
Noelle Foye - Fuller Craft Museum
Tracey Beck - American Swedish Historical Museum
Anne Arenstein - Taft Museum of Art
Susan Douglas - Discovery Museum of Sacramento

Word-of-Mouth Marketing

Every Friday morning, something special happens at a North Carolina museum.  Yes, up to 30 toddlers are learning, playing, and having a great time at the Children's Museum of Wilmington.  But Toddler Time is also parent time, as up to 30 parents are also interacting with their kids and each other.  These parents are supporting and learning from each other, as staff member Mary Ellen Boylan notes, but they are also undoubtedly participating in word-of-mouth marketing by talking about this great place, as well as other great places and products.  They also represent a huge opportunity for the museum to start a campaign each and every Friday.  But how?

In recent surveys of museums in New York, North Carolina, and Ohio by Reach Advisors, it is clear that word-of-mouth marketing is important to museums; the vast majority of museums surveyed engage in word-of-mouth marketing.  Few realize, however, that it is something that you can orchestrate and control, creating a big impact at relatively low cost.  How do you make that happen?  Here are five tips:

1. Determine who are your "Sneezers."  Just as in any other aspect of life, certain people are more inclined than others to vocalize their thoughts. You probably already know which of your members and visitors are well-connected in your community and have credibility.  They are not just your trustees and volunteers, but they are also the leaders of the local mom groups, civic organizations, and others that can influence the audiences that you do not know . . . but want.  You can determine your sneezers through market research or, if on a smaller budget, carefully monitoring how people hear about you - exactly who is most moved by word-of-mouth, what's the common message communicated, who spreads the word, and what attitudes and behaviors change.  Regardless of how you find your sneezers, the payout can be high.

2. Find out how your museum is different -- and whether it matters.  You may not have the biggest children's play area or the most priceless art, but your museum is unique.  Your task is to determine how you can differentiate your museum from a hundred other Saturday-afternoon options in the minds of your potential visitors, and then to make sure your programming fits their needs.  Once you do this, make sure your delivery exceeds their expectations -- and in a big way.  People do not rave about the average or expected, but they do talk about the unexpected and remarkable. Give them that hook to use to talk to their peers.  Key point: You have to deliver real and noticeable differentiation in the minds of your customers, and make it important enough for them to sell it to their friends.

3.  Create a "sneeze-worthy" brand message.  Not only must a museum give visitors something to talk about, but you also must provide the words with which to talk about it.  Author Seth Godin says that the right words are:  "A script for the sneezer to use when she talks to her friends.  The script reminds the customer, 'Here's why it's worth recommending us; here's why your friends will be glad you told them about us.'  And, best of all, the script guarantees that the word-of-mouth is passed along properly."  Make that message easy to pass on, whether by phone, face-to-face contact, or through e-mail.

4. Perhaps the best examples of effective scripting can be found in the discount airline business. When asked about JetBlue Airlines, most customers would answer with some variation of:  "It's cheap, cool and, hey, they have TV too."  The consistency of these customer comments isn't accidental; companies like JetBlue reinforce these "unofficial" scripts in their marketing communications and service delivery. 

5. Sometimes it takes blowing it. No museum likes to hear that a visitor has had a negative experience. But it is important to note that while in most cases a museum will never hear when a visitor or a member is dissatisfied, in our research we often find that 90% of respondents who had a disappointing experience at an attraction tell others.   And, on average, they told nine people! It is virtually guaranteed that a visitor who has a bad experience with your museum will also spread the word.  Train your staff to make sure that every problem is handled so that the visitor feels special and taken care of, and you can turn that into nine people told about a remarkable service recovery experience.

What is the bottom line?  Getting included in the personal interactions of your visitors and members is one of the most important hooks for getting someone to your museum. Word-of-mouth marketing gives you the credibility that advertising cannot buy, the market penetration that you might not be able to afford, and the inclusion in conversations that cannot be missed. It is up to museums, however, to figure out how to make it worthwhile for visitors to put their personal reputation at stake and spread the word.

Have questions about orchestrating your own word-of-mouth campaign?  Have you had great success utilizing word of mouth?  Please share your thoughts and questions with us!  Either post your thoughts by clicking on "comments" below, or send Susie Wilkening an e-mail at susie at reachadvisors dot com.  We would love to hear from you.