Intro: [00:00:00] Hello and welcome to the Posers podcast, the place where we skip the fluff. Say the quiet parts out loud and dig into what really matters. This is where photography, psychology, and business collide. I'm Jody, your host, and I'm bringing you my raw takes, hard wins, and a whole lot of unfiltered honesty about what it takes to build a photography business that actually connects and makes money.
So ladies, grab your headphones and get your tits up and your ears open because we are going to build something really incredible together.
Hello, hello, hello, my beautiful posers, and welcome back to another episode of The Posers podcast. Today, , today I am actually going to tell you about the time that I broke my number one rule of sales, and it is not just a little rule. No, it sure is not. It is, [00:01:00] like, the rule. It is the big, huge, most important rule that has probably ever really existed in sales, and the one that I teach my students over and over and over again, and I broke it.
Obviously, not intentionally, a little subconsciously, we'll get into that. But I broke it, and I lost a shit ton of money because of it. I lost literally the biggest deal that has ever been on the table for me in my whole entire career simply because I did not follow my own rules. I can't even say they're my own rules.
It is the rule of sales, period, in any industry. And, , I've been actually sitting on this story for a while because, well, it's not exactly fun to sit here behind a microphone and be like, "Hey, I'm the person who's [00:02:00] teaching you sales, and I completely blew it." But I also think that it is so valuable for you to see that for one, everybody messes up no matter how much practice they've had.
And also, that I really value transparency a whole lot more than I value my own ego, which is really saying something because I think my ego might be, on the more inflated side, all right? Okay. So, today you're gonna get the whole entire story in this episode. You are going to get the mistake that I made, and you are going to get the gut punch that it felt like, and then you're going to get what I did next.
Because what I did next is actually the part that I'm really, really still proud of, [00:03:00] even though I flubbed this huge deal. Okay, so let's just get into it. First, let me tell you what the rule is so that you can also watch me break it literally in real time. Well, not real time, but in the amount of time that I'm going to spend retelling you the story here.
The number one rule of sales is that you absolutely must close the sale right then and there on the spot, and this goes for if you're on a discovery call, booking a shoot, if you're in the sales room, if you're running IPS. If you're even going back and forth over email over a client booking the shoot, like, you have to close the sale right then and there on the spot.
That means that you do not let your client, like, walk out of the sales room with a gallery link and her telling you [00:04:00] that she's going to just, like, make her final choices later. Or you do not walk out of, say, her house or wherever you're doing any sort of a meeting with her saying that she'll pay the invoice later.
You do not get off of a discovery call with them saying like, "Oh, let me talk to my spouse about it and then I'll get back to you." Because everything that locks in the sale, it has to happen right there inside of the buying environment that you've obviously worked so hard to create, okay? Because the minute that your client walks out your door or the minute they...
you walk out of their home without finalizing everything, your chances of actually closing that sale drop by like 60 to 70%. Okay? 60 to 70% of your revenue is literally gone if you don't close that sale right then and there I know this, I teach [00:05:00] this, I have watched this happen to other photographers a hundred times, and I have corrected them on exactly where they went wrong and why the whole entire sale collapsed later that day, like after their sales meeting or whatever.
And I still did it. I still made this mistake. I mean, I should have this tattooed on my forehead at this point. I say it so much, but I still made this mistake. So let me kind of like set the scene for you, and then we'll get into a little bit of why I think that I made this mistake. , Because am I still thinking about it?
Yes, I absolutely am. Am I still kicking myself for it? Yes, obviously. So let me set the scene for you just a little bit. , This client who we're gonna discuss today is someone that I've had a really, really good relationship with for years. Like, I wanna say like six [00:06:00] or seven years I've been photographing their family.
It all started with me photographing their daughter's wedding. Actually, yeah, that was during... It was during COVID. , So it has been six years. So I photographed her family several times over those six years. She is one of those clients that I love seeing on my calendar because we j- not even just that she's a great client, but, like, we just get each other, right?
She trusts me, and I trust her. And even whenever I'm doing, , not extended family photos for their whole family, because she's the grandma in the bunch, , but even whenever I'm doing her daughter's family photos, it's just a really, really great relationship, and I trust their style, I trust their aesthetic, and I trust that they, like, really understand how seriously that I take my business also.
So this client booked an extended family photo shoot with me in the studio with their whole entire crew. And [00:07:00] sidebar, I was actually really nervous because I think it was 11 people or so, and I've never... My, my studio is not big enough for that. , I've never had that many people in here, and I knew that I was gonna really test my posing and my, like, human stacking capabilities.
, So their whole entire crew came in. And I'm telling you, my nerves were... They should've been, like, not even existent because it turned out so incredible. Like, one of those sessions where you're just culling through it and you're, you keep hitting, like, the next photo, the next photo, the next photo, and it ju- the whole entire thing just slapped.
It was so good. So here's where it gets more interesting, though. She and her husband are building a brand-new home, and she has incredible, incredible style. Her homes that she builds are always so immaculate. So in this new [00:08:00] home, before she had even booked the shoot with me, she just wanted this on her own.
It's not as if w- she collaborated with me on this. But- In this new home, she was building a custom wall, and I cannot... It's like this f- this focal piece in the whole entire hub of their house, and I cannot express to you how huge this wall is. I'm talking, like, probably 30 or 40-foot ceilings or so. I'm not very good at, like, doing, like, estimates with numbers like that.
But what is built into this huge wall is 20 huge square nooks, essentially. And every single one of those nooks was wired with its very own, like, pocket light, like a little art light to go inside of the nook. So, whenever a client tells you that she's having this custom wall built, and [00:09:00] that now that the house is getting close to being finished and now that we've had this photo shoot, it is my job to fill that wall for her.
, And also the fact that we did have such an incredible shoot and that I get to turn around and do something so incredible with those photos. Like, whenever we're talking like this, I'm just sitting in the sales meeting, like, trying to be like, "Jody, Jody, act like you've been here before, okay? Do not act brand new."
Have I done huge installations like this? Yes. I mean, have I done... Like, I think it- that the biggest that I've ever done is actually, like, 20 frames like this, but not built into a wall. I simply did them down a hallway for a client in California. But built into a wall with the art lights, with the nook, with it being custom, like, I could literally feel all of the possibilities, like, right there in my fingertips.
[00:10:00] So obviously, this is not my standard kind of order, and this was more than financially now th- 'cause the other one that I did in California was years ago, right whenever I was starting IPS. So this one was more than I had ever, like, had on the table moneywise, financially for any single client, so- she came into the studio for her reveal, , just like every other client does, and she loved everything.
She purchased all of the digital files, plus an album, plus a frame. And that one frame was really, like, strategic for both of us because we were gonna use this one frame as the template. So the plan was to get that one piece, that one frame that she had already ordered absolutely perfect so that we knew exactly how we were going to build the other 19 frames.
Okay? So [00:11:00] I painstakingly designed this frame. I went back and forth and back and forth, changing things, perfecting things. It was an 18-by-18 inch frame with a four-inch linen mat. And then even, like, the image size had to be custom because 12 by 12 is standard for a square, but it actually looked better with an 11 by 11.
So then we took that image, I float-mounted the image in... All of the images were in black and white. The whole entire wall is black and white. And, , I float-mounted the, the photo, and it was also printed on the most gorgeous fine art paper that I always use and that I absolutely love. So I'm not joking when every inch of those 18 by 18 inches...
I can't tell you the square footage. Is that 36? I have no idea. Math. This is not a math podcast. So [00:12:00] every single inch was stunning, and I really intentionally set... out to do that. I did that on purpose because I really wanted to make sure that the frame that I made as the template was such a custom piece of artwork that she could really never recreate it on her own.
Like, she couldn't go out to Pottery Barn. She couldn't go out to Crate & Barrel. Not even a trip to, like, Michaels or something would she have been able to even do this as a custom job. And I knew that this was going to be very expensive. I knew that I needed to kind of layer in that job security through the actual product itself.
Because whenever the product is that good, you become the only person who can deliver it. And especially because I knew that I was dealing with a client whose insanely high level of taste matches my own, I [00:13:00] knew that she would fall in love with every single inch of what I had created for her. So I was very smart on that side of the deal, okay?
Hold onto that little nugget because it's actually gonna come back around here in just a little while. So after she came in for the reveal, she had purchased, obviously I told you already, all of the digital files, plus an album, plus that one template frame that we created, which means that now it's gonna be time for us to, like, now present and propose and sell all of the other 19.
So I drove out to this new home with the template frame that I had created. And of course, I, like, presented it to her the way that I present anything, like, obviously, like, very beautifully wrapped, very much so custom. Like, the house itself was still under construction, but the electrical had been run, so the actual little pocket lights, [00:14:00] the little art lights that were in those nooks were already working.
But even with the construction still happening all around us, we could still get the full idea of how incredible this wall was going to look. The, the nooks themselves were, I think, 24 s- inch squares, and then the frames were 18 by 18, so they really sort of like floated inside of these nooks And then of course, each little cubby had that pocket light that's tucked in at the top.
And as we slid that frame, the template, into one of the nooks, the light hit it just right, and it hit that p- that textured paper, and it literally just, ugh, I can't even describe it. Like, if you could describe, like, the way that, like, your first taste of, I don't know, Italian pasta feels, where it just, like, melts in your mouth.
The equivalent of that was what this frame looked like in her wall. And [00:15:00] she absolutely fell in love, exactly the way that I wanted her to. She loved every single inch of it, and it was exactly what she had pictured for that wall. And honestly, it was better than what I had pictured. It was better than what she had pictured.
It was better than we could have ever dreamed. So I had a custom proposal there with me already ready to go. It was printed out. It was tucked inside of an envelope sleeve, like, all of that. It detailed out the remaining 19 frames, plus me project managing it, plus the full installation of it all. So she looked it over, and she hesitated for a quick second at the price.
And I thought that I was gonna have to roll some objections, but it actually turned out that I didn't have to because she kind of rolled her own objections in real time. She, like, started to give me, like, this balk at the price. And then she s- she looked at me, and she [00:16:00] was like, "No, like, this frame is absolutely perfect.
I can't imagine ever, like, having something more perfect for this wall. We just... I just have to spend the money. It has to be perfect because it's this huge piece of the house." And I just stood there silent and just kind of nodded my head. And she approved it, okay? And then, of course, she actually said the words that I think all of us dream of hearing.
She said, "Okay, what do you want me to do now? How do you want me to pay for this? Do I just give you my card?" Mind you, I have not talked numbers yet, okay? But the original reveal had produced about $10,000. So it was already a $10,000 sale with all of the digitals, plus the album, plus the template frame that we were doing, okay?
Now, in front of her, I had slid over this proposal for the other 19 frames, and it was [00:17:00] $29,000 of an invoice sitting right in front of her. And I had the client saying, "Do you want me to hand you my credit card right now?" And I shit you not, I have no idea what came over me. I have no idea why I balked at this.
My self-conscious came into play. I had never had a Amex swipe that high, and for some reason I caved and I balked and I I struck out. And I said, "I'm gonna get back to the studio and I'm gonna send you the invoice." Literally, I need a sound effect here of like an asteroid like crashing into the Earth.
Like this... I need a crash and burn, , sound effect right here. I've thought a lot about why I did that because normally I would've pulled out my phone and I would've run it through Stripe right then and there, standing in [00:18:00] the middle of what was soon to be her kitchen without even blinking. The story that I kind of lied to myself about, the story that I told myself is that I wanted the invoice to be like fully detailed.
I wanted to lay out every single thing that we were doing so that it felt like really thorough and it kind of like covered my ass, right? That's the lie that I told myself. I, I have, I usually have no problem with this at all. I preach this. I talk about this on the podcast all the time, right?
That whenever I'm sitting in the studio and I'm taking a $10,000 deal or I'm taking a $15,000 deal, I never ever hesitate at all to just grab my phone and do that quick of a transaction. But the truth of the matter is, and I just, I have to be transparent, I have to be honest, I hit a money block that I hadn't hit yet.
And it was right there in front of my face, and I was staring at it in real time. In fact, that's more money than I've ever even made on a wedding. The last wedding that I [00:19:00] just shot in Chicago was $35,000, okay? So I was trying to like, I don't know, gift wrap this lie to myself. I was trying to like soften the edges and make it like, I don't know, palatable, make it to where I could like swallow this lie.
But I was literally trying to argue with myself, my way out of it just being like a full-blown money block that I have to work on and that I have to get better at. But- , instead of letting her hand me her credit card right then and there, I fucked up and I said that I was gonna send the invoice whenever I got back to the studio.
Because, like, the time between closing the deal... Well, not even closing the deal. The time between me leaving her house and then actually getting paid was probably, like, a 40, 45-minute drive. Okay? So I'm driving back to the studio feeling like an absolute [00:20:00] rock star. I'm already thinking about the content that could come out of this.
I'm already th- thinking about the podcast that comes out of this. I'm already thinking about, like, how I'm gonna teach it inside of the mastermind even more. I'm texting my husband, like, "Oh my God, just locked in this, like, biggest deal of my career." All of that. Okay? This 45-minute drive between her house and my studio, and before I even get halfway my phone rings, and it's her.
And immediately my stomach, like, jumped into my throat, and I just knew. I knew. I knew the minute I walked out of the house, but the minute I saw her name on my phone, I knew that I had made a huge mistake, because she had gotten on the phone with her husband, and her husband had said, "Absolutely freaking not."
Okay? And I really don't even think that it was balking. I mean, it is about the price, but, like, obviously this client is building this incredible, huge [00:21:00] custom home in one of the most prestigious areas in my city. Okay? So it wasn't so much that, but, like, what actually happened is her husband- he said absolutely not to the number, obviously, because he saw the number in black and white, like on the invoice or through the phone whenever she was telling him how much.
But the thing was, is he wasn't there. That's also a mistake that I made. I never in a million years thought that I needed to have both of them there, even though I say all the time that all decision-makers should be present at the deal. But
I thought that my client was okay with making this deal with me, that I didn't need to have her husband there because she's obviously very independent, very, like capable, very much so like a designer and all of those things. So these big decisions I didn't think needed to have her husband there. But he didn't see the framing.
He didn't see the detail. He wasn't in the [00:22:00] buying environment that I had created. He didn't see how much she loved it. And also, like, he didn't see that moment whenever we slid it into the cubby and we watched the light hit it. He didn't see or feel any of that. The message that he got was that his wife was about to spend $29,000 to put some frames on the wall.
So I understand him balking at that, right? Like, like I think anybody would've said, "You're gonna what, honey?" So anyways, Let's talk about what was like really on the table there. We've got the $10,000 that they had already spent on the full digital set, and the album and the mock-up frame, and then the $29,000 more from the other 19.
So we're talking about nearly $40,000 for an hour and a half photo shoot, and I fumbled it literally in a 45-minute drive. Well, I fumbled it at their house, but in between their house [00:23:00] and my studio it was fumbled. And She did not give any sort of like, I don't know, she didn't backpedal with it.
She didn't waffle on it. She didn't, like, ask for a payment plan. She didn't give any stuttering. She just said her husband said no, and they're not doing it, and that she was going to have her contractors build the frames since she already had the one that I built. Okay? She had essentially already purchased that template, and I had put my heart and soul into designing it for her.
That template that I thought like, "Oh my God, I am so smart that I'm putting all of these custom pieces together", yeah, that template was now sitting in her house as a very beautiful blueprint for her to now copy. So of course, I went straight into the idea of handling her objections on this call. Okay? [00:24:00] I asked her if she had ever done a framing project like this before.
I asked her if she knew how to source all of the pieces that it would take to pull off. But the thing is, she actually is a really, really capable woman. She is incredible at design, and she has custom built and custom designed many homes. She is resourceful. She is very well connected. So would she have gotten the exact same work that I would have done for her?
No, probably not. But she probably would have stumbled on, like, a couple of pieces of it, of finding somebody to do, like, the linen mats or, , you know, have the exact same type of frame made. But she's so good at design that she would have made a really great replica, and she would have just made 20 of them and not had to use that template at all.
She could have put that template somewhere else in the house, right? So Could she get the job done? Yes, 100%. So I really couldn't, I didn't really have any power in my corner. I didn't really have any way to [00:25:00] roll this objection by questioning whether or not she was capable, because she was, and she probably would've seen right through me trying to roll that objection.
So really, the only thing on the table was whether or not she wanted to project manage the whole entire deal. And again, she's very capable, and she's done it 100 times. So she was perfectly fine to piece meal this project together. And here's the moment where all of that, like, detail work comes back because
It's kind of where this whole entire, like, lesson of this episode lives, except for obviously the idea of don't make the same exact sales mistakes as I did. But this is where I really want you to start, like, paying attention, so tits up right here. Okay, so I had a choice to make because did this hurt my feelings?
Like, did this sting? Yeah, it really did. But [00:26:00] I had the choice to make right now. I could have let the whole entire thing fall through. I could have said, "Okay, well, that sucks," right? Like, I could have handed her the template and n- know that she basically just gets to copy exactly what I created for her, and I could have felt really, like, you know, butt hurt over the idea that I got, like, cut out of the deal.
Okay? I could have spent the next several days, like, telling myself and anyone who listened that this client, like, really screwed me over, cut me out of my very own project. Like, and honestly, I don't think that anybody would've blamed me for it because it probably sounds, like, pretty justified, right? But you have to remember that this is an incredible client who I know cares about me and who has done a ton of work with me, and we simply hit a ceiling where she was saying, like, "Okay, you've done [00:27:00] this really incredible body of work for me, and now I'll just take it from here."
But what I want you to know is that just because she said no to me doing the whole entire frame job does not mean that that had to be the end of the conversation for me. Sometimes a no just means we're not gonna do it like that. So instead of getting pissed, instead of stomping my feet, instead of having a temper tantrum, instead of being like a petulant child about it and getting all freaking ego bruised and butt hurt, I picked myself up and I asked myself a better question What does she still need that she cannot get without me?
And the answer was obviously sitting right there in that template frame, because it was that beautiful fine art print. Okay? It is my absolute favorite paper, the one that I order all of my prints on, and it's so incredibly detailed, and [00:28:00] textured, and soft, and, like, it's just simply gorgeous. And she was never going to have access to that vendor, because she's not a photographer and she doesn't have a professional account with them.
So her contractors could build the frames all they wanted. They could not, though, supply her with that print. So a couple of days went by, and I went back to her with a completely repositioned offer, and I told her that I would actually, like, break my own rules, and that I would connect her directly with my framer, the one who had built the original template piece for me.
One, because I absolutely love this client and I absolutely love this project, and I did not want Crate & Barrel to be sliding in with their frames on this wall that she had created. , But I also... I didn't want her to have to cut any corners, and I didn't want my client to end up [00:29:00] without the design that she really, actually loved.
But I also had my bottom line to consider, and I have my business to consider. So I told her that I would connect her directly with the framer, and that I would get all of her prints created for her on the paper that she loved. Then she could take those prints straight to the framer and project manage the whole entire installation by herself.
And by doing it that way, she would actually save about $10,000 out of the deal. So essentially, instead of getting pissed off about getting cut out of this deal, I made the decision to co-sign the idea of getting cut out of this deal. Instead of getting all butt hurt, instead of getting pissed, instead of stomping my feet because I got cut out of this, like, huge deal, I walked in and said, "Hey, if you wanna do this without me, that's okay." Okay? Because I know that she's capable, and I know that she's going to execute it at a really high level, and [00:30:00] I wanted her to know how to really do it beautifully. Okay? And honestly, I also still wanted to be able to have a video of the installation going in.
I wanted to have a huge part of, like, my artwork involved in it so that I still had it as part of, like, a portfolio piece that I could show on my social media that this is the kind of work that I'm doing, that these are the kind of installations that I'm doing. So I pitched the idea to her that she needed to have access to me still in order to make those prints, and she absolutely was like, "Hands down.
The prints are stunning. I absolutely do want those," and she said yes to that. So that was about $8,000 that I rescued out of the deal right there, that I resuscitated back into the deal right there just by [00:31:00] making the decision that I wasn't going to let my personal feelings get involved in what my business should be doing.
But I then didn't stop there because I also knew that I had another deal on the table that I could pitch and propose also, okay? I was about to walk into my framer's shop and hand him this huge deal, this huge project, this very high-ticket client, okay? This was a big project that he and I were supposed to be doing together, so if I had gotten cut out of the deal, then he would've gotten cut out of the deal too, okay?
But he didn't because I didn't let my ego stop everybody else around me from succeeding. So now I was gonna walk this client in, and he was going to get access to her directly, so I called him and I told him [00:32:00] that I still wanted to make sure that he was being taken care of on this project even though I wasn't going to be part of the project management and the installation anymore.
And I pitched him the idea of a referral fee for bringing in the client, and of course he was absolutely in, right? So then there's another $3,000 on, like, the kickback that I negotiated. After I flubbed the big, huge deal, there was still a little bit that I could say, "I can still make - a deal here, and I could still make a deal there."
If I had taken no as the final word, I would've walked away from this client at around $10,000, okay? Which, let's be clear, is still a really, really, really great client even if I had walked away at that point. Like, that is never something to scoff at, okay? But by refusing to let- one [00:33:00] no be the end of the story.
I added the other $8,000 in prints and about $3,000 from the framer. So I turned what would've been a $10,000 client into a $21,000 client by salvaging that part of the deal. Now, could I have made close to $40,000? Yes, I absolutely could have, and I will probably be kicking myself about this deal for the rest of my life.
But 21,000 is a whole lot better than sitting at 10 and being pissed off about it. So here's what I want you to walk away with. Lesson number one, obviously, do not break your sales rules. You need to understand sales. You need to understand the rules of the game. You need to understand how to roll sales objections, and you need to understand exactly which steps cannot be missed in order for you to run your business as profitably as you can.
That process, that [00:34:00] sales process exists for a reason, and the reason is usually that somebody now you know, probably me, already learned it the hard way. Okay? And whenever she says yes, whenever your client says yes, you close the deal right then and there. Okay, her card has to get run right then, in that second.
The pretty detailed invoice, if you want to send one, that can come later, okay? After the money is already in the bank, and it'll still be just as thoughtful, it'll still be a high-end touch point, okay? Because the second that she leaves the buying environment and she's back in real life with
Real bills, and a husband on the phone and a whole lot of time to talk herself out of it, and you're not standing there to roll those objections. The emotion that she [00:35:00] felt in that sales room, the emotion that she felt when she was looking at the slideshow, the emotion of that buying environment, that does not survive the drive home sometimes. Sometimes it does. Okay? It is your job to protect yourself against those sometimes.
It is your job to lock it in while you are still in the room. And then lesson number two, whenever you do make a mistake, and you will, because everybody makes mistakes and everybody hits financial roadblocks and mindset blocks, do not let a big fat no or a big fat goose egg of a $0 close blind you to everything else that could still be on the table if you simply repackage the deal.
Sometimes you have to pause. You have to get over those hurt feelings. You have to let the business take over and not your feelings take over. And you have to ask better questions for your business, [00:36:00] like, "What part of this deal can I salvage? What part of this deal can I be the only person that can deliver this for her?
Who else wins if this deal still happens and it's still on the table? And how do I make sure that I'm part of the other steps in this process now that it's just simply kind of being structured differently?" Understanding where your value is means understanding that there's almost always more than one road to
Like, there's more than one way to get money inside of the same deal if one part of it collapses. So I lost the biggest deal of my career because I obviously didn't do it the way that I teach it, but yet I still more than doubled what I would have made on that client because I refused to let no be the last word.
And also, a $21,000 deal on an [00:37:00] hour-and-a-half photo shoot That sometimes doesn't feel like reality. Sometimes it feels like this business is structured so incredibly well that it's printing money for me. All right? So I don't feel any... Like, am I kicking myself about it? Sure. But I also know that that's still a really incredible amount of money to be making on a photo shoot.
So the number one thing that almost every single poser tells me about working with me isn't, "Oh my God, Jody, I'm making so much more money now," even though they are, and that's a huge thing that they're saying because they are printing money the same kind of way inside of their businesses now too. But what they tell me more is that they finally understand their business.
They tell me that it's the confidence, that it's trusting the way that they think and trusting the way that they move because [00:38:00] it takes a whole lot of confidence to do what I just did in that story, to get that phone call, to feel your stomach drop, and then rearrange your mindset, rearrange your feelings, rearrange your thinking fast enough to see what's still on the table for you.
And that doesn't come from a sales script. It comes from understanding your business so deeply that you can move inside of it with that kind of certainty. Instead of second-guessing every single move that you make and lying awake wondering whether or not you did the right thing or the wrong thing, like, you just know what the next step is and what the next move is.
And whenever you feel that level of confidence, the curveballs really stop, like, knocking you over because you can just figure out what the next play is. Which obviously brings me to the fact that the mastermind for 2027 is already almost at 20 women in the group, [00:39:00] and the doors just barely opened officially on October 1st.
So if you have been listening to this podcast, nodding along and thinking, "Someday I wanna make that kind of money," or, "Someday I wanna feel that kind of confidence. Someday I wanna run my business like that," I need you to hear me that if you don't book your call now, there's a very good chance that the mastermind is going to be sold out before we even get to the next episode.
All right? So book the call. Let's talk about your business, and let's get you moving with this kind of certainty in 2027. That's all I've got for you today, posers. Bye for now
Outro: Okay, so that is a wrap on this episode of the Posers Podcast. If you loved it, please subscribe, rate, and review because honestly, algorithms are needier than all of our ex-boyfriends combined. And ladies, I need all the help I can get. If you've got thoughts, questions, love [00:40:00] letters, even hate mail, please send them my way.
I actually read every single one of them. So until next time, stapled, stay messy and don't let the bullshit win. Tits up. Ears open and go build something. Incredible. Bye for now, friends.
