How a bite-size Kit Kat can make you more productive.

Someone was nice enough to drop a bag of those bite-size Kit Kats on my desk the other day.  Since it was the time of day I like to call “Sugar Time” (which is the same as Tea Time, but without the fanciness), I ripped open the bag and popped one into my mouth.

Mmmm.  Chocolatey wafery goodness.

Pop goes another.

And one more.

Then I went back to what I was doing (which was writing a blog).  And then I popped another.

15 minutes later, I was staring at a giant mound of bite-size wrappers.  I mean, it was like there had been a mini Les Miz-like French revolution on my desk, but instead of furniture and wagons, the students used Kit Kat wrappers to make their barricade.

I looked at the wrapper carnage and had a thought.  I pulled out one of the wrappers and looked at the number of ounces of wafery goodness.  Then I multiplied it by the number of bite-size bars that I ate.  Then I compared that total to the number of ounces in one regular size Kit Kat.

Surprise, surprise . . . I had eaten exactly the equivalent of one-and-a-half regular size bars in one sitting.

Why?

It was so much easier to devour more of those little buggers when they were bite-size.  Breaking the bars into little pieces not only made them easier to manage, but it also made each piece like no big deal.  Unwrap, chomp, done.  Next?

Little packaged portions made them easier to eat.  And I ended up eating more.

Wouldn’t it be great if we could all devour our work in the same way?

We can.

Take whatever project you’re working on, and break it down into the little bites. Don’t try and digest the whole bar all at once.  Go piece by piece by piece . . . and “put it together.”  (Another one for all you Sondheimites).

You’ll end up doing more before you know it.

And unlike eating Kit Kats, you’ll probably end up burning calories in the process.

(Not So) Favorite Quotes Vol. XXIV: Won’t you be my neighbor?

One of the couples on my floor loves the theater.  They go on a regular basis, have great taste, and are always asking me for recommendations on shows to see.

Oh, and get this . . . they always pay full price.  (insert “whoopee!” here)

Last week, I ran into them in the elevator and they told me they were on their way to see Red.  I started asking them my usual string of mini focus group questions:  how they heard about Red, if they could describe the artwork, and then I landed on my finale of, “Where do you go to get your tickets?”

Their answer was Telecharge . . . but then the husband’s eyes widened and I could tell he wanted to share some sort of secret.  Here’s what he said:

“Yep.  We buy on Telecharge.  And pay full price.  But we never buy in advance.”

My heart sunk . . . and I kind of wanted them to move to another building.

He continued:

“Yeah.  We find we get better seats when we buy last minute. Whenever we try to get something in advance, we always get crap. But if we go online the day before or even the day of, we usually find gold.”

When I heard this, I wanted to move . . . to Tallahassee. There’s something wrong with a ticketing purchase process that reinforces full-price buyers to wait until pulling the trigger.

So what’s the problem?

There are probably a few issues at work here, but I’d bet a couple of full-price tickets to Red that the issue most at work is that theaters and shows are holding too many of their best locations for House Seats, etc.  House Seats (or quality locations held for use by the Producers, Theatre Owners, Actors, Designers, etc.) that are not used get dumped back into the general pool of available seats 2-3 days before each performance, which is why there is sometimes a flood of good seats available closer to the performance.  My neighbor was probably getting the tickets held for the Set Designer, or one of the Principal Actors, etc.

The problem is . . . there are so many people that have House Seats in their contracts, that up to 75 prime orchestra seats can be held . . . for every performance.  I mean, is the Set Designer or Principal Actor really going to use 2 or 4 seats every night???

In survey after survey, our audiences tell us that the #1 thing that they want is a great seat . . . and we’re holding them back.

By serving our own selfish needs, we’re causing our customers to do one of three things:

– Not buy at all (there’s really no better seat than on your own couch).

– Wait until something better opens up, thereby decreasing our ability to build advances.

– Find better locations elsewhere . . . translation:  they are going to brokers.

That last one is the most ironic.  Everyone in our biz has been concerned about the huge amount of business going to third party ticket brokers.

Well . . . news flash:  we’re part of the reason our audiences are seeking them out.

We’ve got to find a way to give our customers as much access to the best seats possible.  And one of those ways is to decrease the number of house seats we all hold.

Then, after we’ve decreased the number of house seats . . . we can start charging for them.  (For more on house seats, click that link)

Ken Davenport
Ken Davenport

Tony Award-Winning Broadway Producer

I'm on a mission to help 5000 shows get produced by 2025.

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