Finding Your Niche: The Secret to Business Growth (Bootcamp PT. 3)
Chris Do reveals that massive business growth comes from a one-degree shift in your offering, not a 180-degree pivot.
Chris Do
Founder, The Futur™ · March 10, 2024
Your Breakthrough Is One Degree Away
Creatives and entrepreneurs often believe a major breakthrough requires a radical, 180-degree pivot. They look at their current business, see its limitations, and conclude the only solution is to burn it all down and start over with something entirely new.
This path requires too much effort, too much energy, and expertise they simply do not have. It presents a false choice between all or nothing.
But what if the success you want is not a revolution? What if it is merely an evolution? During a live business bootcamp, educator Chris Do challenged this all-or-nothing mindset with a powerful counter-narrative. “The success that you want is sometimes one degree different than what you're doing now,” he states.
The answer is not always a new client base or a new service. It is a small adjustment to a single variable: who you deliver for, how you deliver, or how you package the result. Before you run off to reinvent your entire business, you must first look at what you already do and find the one-degree shift that changes everything.
The Myth of the Glamorous Portfolio
For years, Do’s creative agency, Blind, operated at the high end of the production world, making commercials and music videos for global brands. But as the market waned and profitability shrank, he saw the writing on the wall. The business was on a downward trajectory.
The initial, obvious answer was to take their high-end skills and apply them to lower-value work like industrial videos. “That's the wrong answer,” Do cautions, describing it as taking a lucrative skill and doing it for clients who pay less and value it less. It was a race to the bottom.
The real answer came from a one-degree shift in clientele. His business coach posed a simple question: “Don't you just make really compelling images for people? Who else might need this?”
The insight was that businesses in completely different verticals needed the sophisticated design language Blind had mastered. The market with the biggest need and budget was commercial real estate. This insight, as Do explained, “is how we flipped a thousand-dollar job into a multi-million-dollar opportunity.”
They took the same core skillset and applied it to a new audience. It required learning a few new skills and a new industry language, but it was not a 180-degree pivot. This shift allowed them to bypass the traditional advertising agency model, becoming the agency themselves and capturing the value they once gave away.
But the story gets more specific. When Blind finally secured a relationship with a massive, $13 billion real estate development company, Do asked them why they were hired. It was not because of their portfolio of work for sexy, big-name brands like Audi or Xbox.
It was because of a project for a self-storage facility.
The client, who worked with world-class architecture firms like Gensler on billion-dollar buildings, told him directly. “If you can make self-storage facilities look good, you can make our A-class buildings amazing.”
That single, unglamorous case study was more relevant and powerful than all the flashy brand work combined. It was the closest thing to what the client was doing, and it proved Blind could make the mundane magnificent. They beat out every specialized real estate marketing company and commanded the highest price. Your most valuable case study is not always your most famous one; it is your most relevant one.
Find the Client's Problem, Not Your Solution
Most service providers are stuck because they sell a skill. They sell video production, graphic design, or copywriting. They are focused on the deliverable, but the client is focused on the problem.
In the workshop, a videographer named Jason detailed his struggle to sell his services to mid-sized tool and manufacturing companies. These companies, often with revenues of $15-20 million, were starting to see the value in content marketing, imitating larger competitors like Milwaukee and DeWalt. They had a “Made in America,” blue-collar ethos and wanted to grow their brand recognition.
The central question, as Do framed it, is simple: “Why do they need video?”
If you walked into that manufacturer’s office and brainstormed 20 ideas to grow their business, video might be one of them. But it probably would not be number one. “If you're not in that top category, they're not going to spend it on you,” Do explains. “That's the problem.” You are selling a line item under “other,” an expense to be minimized.
To escape this trap, you must stop selling video and start selling a business result. To do this, you have to divorce yourself from your past deliverables and live in the client’s world. What problem are they *really* trying to solve?
Do offered an innovative example by examining the strategy of Peak Design, a company making bags and accessories for creatives. Despite being an established, 10-year-old company, Peak Design launches new products through Kickstarter, a platform typically reserved for startups.
Why? They are not just testing the market; their products are often already manufactured. They are using it as a brilliant, self-funding marketing channel.
- They tap into Kickstarter’s built-in community of early adopters.
- They offer a discount to incentivize pre-orders, guaranteeing a successful launch.
- They generate massive buzz and gather customer data with zero marketing spend.
A videographer who understands this could approach a manufacturer not by offering to “make videos,” but by offering to design and execute a product launch strategy modeled on Peak Design. This connects the service directly to a measurable business outcome: a successful, profitable launch. This transforms the creative from a vendor into a strategic partner.
Navigating the Startup Maze
The principle of solving a specific, high-value problem applies universally, especially in the complex world of startups. Another workshop participant, Kzia, aimed to help female founders of fintech companies articulate their value proposition to secure Series A funding.
Her focus was on helping them achieve product-market fit and craft a compelling story for both customers and investors. It is a niche Do compared to the work of communications expert Sam Horn, a “pitch doctor” who helps entrepreneurs package their ideas.
The first hole poked in this avatar was a critical one: customers and investors are two completely different audiences with different needs. Serving both is like running two different businesses.
A more crucial distinction came from another attendee with deep experience in the startup world. He argued that targeting companies at the *seed* stage was a mistake.
“For series seed companies,” he explained, “paying customers and that's the main traction for the investors. That's why positioning and branding exercise doesn't really make sense that much.” At the seed stage, founders are laser-focused on customer acquisition and operate on their own beliefs about the market. They are not yet mature enough to see the value in paying for a positioning consultant.
The real opportunity, he argued, is at Series A. This is the stage where a company has found some traction and now needs to scale. The founder's capacity is stretched thin, and they finally have the capital and the mandate to hire outside experts for marketing and strategy. This is where a pitch and positioning expert becomes essential, not just a nice-to-have. This is a critical insight for anyone looking to serve the startup ecosystem, a topic further explored in this discussion with investor Simon Squibb.
To sharpen this focus, Do advised Kzia to immerse herself in that world. You cannot write to an audience you do not understand. He recommended specific, actionable steps:
- Join startup accelerators. Organizations like MassChallenge or Austin's Capital Factory offer opportunities to become an expert mentor, providing direct access to founders.
- Talk to Venture Capitalists (VCs). Many large VCs have in-house marketing experts to support their portfolio companies. Getting introduced to a VC can lead to a pipeline of work with their funded startups.
- Work for the best. Find the person doing exactly what you want to do at the highest level and work for them. Do pointed to Nancy Duarte, the “queen of presentation design,” whose firm employs over 100 people. Working for an industry leader like her, even for a short time, provides an unparalleled education in the craft, the clients, and the business itself. Sometimes you have to go backward to go forward.
The Art of the Small Yes: Closing Massive Deals
Once you find the right market, a new challenge emerges: navigating large, bureaucratic organizations to close high-value projects. An attendee named Will shared his frustration with a $2 million project stuck in a year-long approval process within a massive corporation.
When dealing with huge chains of command, it is unrealistic to expect access to the CEO. The key is to get as close as possible to the decision-maker or, more likely, the people who influence them. In this case, Will was dealing with the Chief Marketing Officer (CMO), who had the ear of the CEO but was still getting gummed up in procurement.
Do’s solution is not to fight the bureaucracy, but to sidestep it. The strategy is to break the project down. This approach is known as chunking, or scaffolding from the bottom up.
The most powerful tool in this process is the discretionary budget. Every manager in a large corporation has a certain spending limit they can approve without needing higher-level sign-off. The first step is to find out that number. One can ask the marketing contact directly: “I'm curious if you have a discretionary budget that you're allowed to spend without needing additional approval.”
Speaking this language shows you understand their world and builds confidence. Do has learned from clients who told him, “Chris, you put in a budget for $84,000. If you put in for $79,000, I can approve it tomorrow.” This is not a negotiation ploy; it is a structural reality of corporate finance.
Once you know that number, say $80,000, you design the first step of the project to fit it. This could be a discovery phase, a strategic audit, or a small pilot. This initial project accomplishes two critical things:
- It gets the ball rolling. You move from talk to action and start delivering value.
- It triggers the sunk cost bias. Once a client has spent money and time with you, the psychological barrier to switching to a competitor becomes immense. The fear of starting over is a powerful motivator. They would rather continue spending with you, the known entity, than risk losing their initial investment on a new, unproven vendor.
By securing a small, easy “yes,” you pave the way for the much larger “yes” to follow. This is a foundational tactic for anyone navigating complex sales, a subject detailed in this deep dive on closing deals.
Systematize Your Genius: The Predictable Proven Process
Chunking a large project is not just a sales tactic; it is the foundation of a scalable business. The most successful service providers do not sell custom solutions every time. They sell a system.
When entrepreneurs are asked what they want most, the answer is almost always a predictable proven process. Demonstrating that you have one is the fastest way to build trust and reduce the friction of buying. The client is not guessing what comes next. They are buying into a system that has delivered results time and time again.
Do challenged the workshop attendees to define their own process in five steps. Why five? “Why not 17? Too many steps, too complicated,” he explains. “Why three? It's too simple.” Five is the magic number. It feels substantial enough to be thorough but simple enough to be understood. This structure is a core tenet of clear communication, as explored in this guide to effective speaking.
Using video production as an example, Do and the group mapped out a generic five-step framework:
- Step 1: The Plan. This is the blueprint. It includes the script and storyboards, establishing the overall vision and strategy before any execution begins.
- Step 2: Pre-Production. This phase adds detail to the plan. It involves casting, location scouting, and finalizing all the elements needed for the shoot.
- Step 3: Production. This is the shoot itself, the live-action phase where the crew is on set and cameras are rolling.
- Step 4: Post-Production. This includes everything that happens after the shoot: editing, animation, color grading, sound design, and music.
- Step 5: Distribution. This is the final and most critical step: getting the finished product seen by the right audience to achieve the business goal.
By mapping your service into a clear, phased process with defined dependencies, you create a predictable journey for the client. Any delay in one phase clearly impacts the next, tying their approvals directly to the project timeline and budget. This system transforms your service from an art into a science.
The Great Devaluation: Where Value Truly Lives (and Dies)
Defining your process is the first step. Understanding where value lies within that process is the second, and for most creatives, it is a painful realization.
Do posed a question to the room. If you had $10 to allocate across the five-step production process, where would you put the majority, the $5? After a moment, he took a vote. A few hands went up for Planning. Zero for Pre-Production. A significant number, seven, went up for Production. Zero for Post-Production. The overwhelming majority voted for the final step: Distribution.
The seven votes for Production were telling. “Chances are, everybody who raised their hand for production works in production,” Do observed. “It's because you're in love with your own sauce.”
This is where he introduced the Smile Curve, a concept developed by Stan Shih, the founder of computer giant Acer. The model maps the value-add of different stages in an industry's value chain. It looks like a smile: the highest points of value are at the very beginning (R&D, concept, branding) and the very end (marketing, sales, distribution). The lowest point, the bottom of the curve, is in the middle: manufacturing and assembly.
Production is a commodity. Do used the example of an iPod. Of a product that might cost hundreds of dollars, the Chinese factory that assembles it might make only cents. Apple, the company that owned the idea (the Plan) and the marketing machine (the Distribution), makes almost all the money.
“Everything in the middle dies,” Do declared. This is where AI is rapidly eating creative jobs. Text-to-video models and generative AI in Photoshop are automating production tasks, making the people who only “make the thing” increasingly obsolete.
The value, and the future-proof career, is in the thinking and the selling. The idea and the distribution of that idea. This is the brutal economic reality that most creatives, who fall in love with their craft, refuse to see. They pour all their energy into the least valuable part of the chain.
Quality is a Correlation, Not a Cause
This revelation sparked a debate. An attendee named Karina pushed back, arguing that quality is inextricably linked to results. “If your product isn't actually quality, then no amount of marketing” will save it, she argued, pointing to the Barbie movie as an example of a high-quality production that led to massive success.
Do immediately dismantled the argument. He asked her a simple question: would she bet that the theorem “quality equals results” would hold up to scientific scrutiny, or would it be full of holes?
“I know better than to bet for what I want,” she conceded.
This is the core bias. Creatives *want* quality to be the determining factor because it validates their craft and their effort. But reality is a different story. Do shared a personal anecdote about his son, who insisted that getting a Corgi would guarantee a million YouTube subscribers because every influencer he watched had one.
Do used it to teach his son a lesson. “I want to teach you a new word today, boy. There's something called correlation and causal.” Causal means A definitively causes B. Correlation means A and B sometimes appear together, but one does not necessarily cause the other.
Quality and success are a correlation, not a causal relationship. And you cannot build a business on a correlation.
The evidence is everywhere. Do pointed to TubeScience, a marketing firm famous for creating direct-response video ads that drive billions in sales. Their own team admits the videos are ugly. “They said, 'we're embarrassed to show you,'” Do recounted. TubeScience owns high-end RED cameras, but their best-performing ads are shot on iPhones. They often have to degrade the high-quality footage, adding camera shake and poor exposure to make it look less polished, because on social media, polished often feels fake.
Authenticity, not polish, drives results. Filmmakers like J.J. Abrams use a frantic, shaky-cam style in horror movies to create a sense of realism and unease. It breaks the cinematic illusion, but it makes the experience more visceral.
Your client does not care about your RED camera or your perfect color grade. They care about one thing: results. If an “ugly” iPhone video moves the needle and your beautifully crafted masterpiece does not, the ugly video wins.
The challenge for every creative is to let go of the romantic attachment to craft and embrace a ruthless focus on results. Your value is not in how well you make something. It is in how well your work makes something happen for your client.
TRANSCRIPT
Enjoyed this? There’s more where it came from.
Get insights on creativity, business, and design from The Futur.
You can unsubscribe anytime. By submitting, you agree to receive communications and to our Privacy Policy.
“The success that you want is sometimes one degree different than what you're doing now.”
— Chris Do
Key Takeaways
Subscribe
Details
- Length
- 1h 43m
- Views
- 39,435
- Topic
- BUSINESS STRATEGY