【正文】 igure as more than mere background. It can make things happen. It can prompt characters to act, bring them to realizations, or cause them to reveal their innermost natures, as we shall see in John Cheever’s short story “The Swimmer”. his contemporary Evelyn Waugh stated that the West Africa of that book replaced the true remembered West Africa of his own experience. Such power is not unmon: the Yorkshire moors have been romanticized because Emily Bronte wrote of them in Wuthering Heights, and literary tourists have visited StokeonTrent in northern England because it prises the “Five Towns” of Arnold Bennet’s novels of the early twentieth century. Thus, a reader’s reaction to a place is not merely based upon the way it looks, but upon the potentialities of action suggested by it. Places matter greatly to many writers. For instance, the French novelist Balzac, before writing a story set in a town, he would go and visit that town, select a few lanes and houses, and describes them in detail, down to their very smells. In his view the place in which an event occurs was of equal moment with the event itself, and it has a part to play. Another example is Thomas Hardy, under whom the presentation of setting assumes an unusual importance. His “Wessex” villages cast intangibly such as spell upon the villagers that once they leave their hometowns they will inevitably suffer from disasters, and the farther they are away from their hometowns, the more, terrible their disasters will be. For example, in the Tess of the D’Urbervilles, the Vale of Blakemore was the place where Tess was born and her life was to unfold. Every contour of the surrounding hills was as personal to her as that of her relatives’ faces。 as an environment, it absorbs some and repels others of the characters: those who are absorbed achieve a somber integration with it, but those who are repelled and rebel suffer disaster.Before this ugly edifice, and between it and the wheeltrack of the street, was a grassplot, much overgrown with burdock, pigweed, appleperu, and such unsightly vegetation, which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison. But, on one side of the portal, and rooted almost at the threshold, was a wild rosebush, covered, in this month of June, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him.In addition to place, setting may crucially involve the time of the story—century, year, or even specific hour. It may matter greatly that a story takes places in the morning or at noon. The medieval background informs us differently from the twentieth century. Kennedy and Gioia note that in The Scarlet Letter, the nineteenthcentury author Nathaniel Hawthrone, utilizes a long introduction and a vivid description of the scene at a prison door to inform us that the events in the story took place in the Puritan munity of Boston of the earlier seventeenth century. This setting, to which Hawthorne pays so much attention, together with our schemata concerning Puritan practice, helps us understand what happens in the novel. We can understand to some extent the agitation in the town when a woman is accused of adultery, for adultery was a flagrant defiance of church for the Godfearing New England Puritan munity, and an illegitimate child was evidence of sin. Without information about the seventeenthcentury Puritan background, a reader today may be perplexed at the novel. The fact that the story in Hawthorne’s novel took place in a time remote from our own leads us to expect different attitudes and customs of the characters, is strongly suggestive of the whole society, which is crucial to an essential understanding of The Scarlet Letter as a whole.2. Local color writing /regionalism and the writer, a regional writer.A regional writer usually sets his/her stories in one geographic area and tries to bring it alive to readers everywhere. Thomas Hardy, in his portrayal of life in Wessex, wrote regional novels. Arnold Bennett’s novels of the “Five Towns” are markedly regional. Willliam Faulkner, known as a distinguished regional writer, almost always set his novels and stories in his native Mississippi.The setting of a novel is not always drawn from a reallife locale. Literary artists sometimes prefer to create the totality of their fiction—the setting as well as characters and their actions.The creation of setting can be a magical fictional gift in a novelist or storyteller. But whatever the setting of his/her work, a true novelist is concerned with making an environment credible for his/ her characters and their actions and in accord with the development of the plot.? （4）開始仔細觀察商品.? （5）轉(zhuǎn)身靠近銷售人員，進入閑聊狀態(tài).? （6）忽然用手輕敲桌子或身體某部位的動作來幫助自己集中思維，作最后決定。? 方法：既要講禮貌和顏悅色，又要仔細觀察顧客的表情，判斷他需要什么樣的，適時的以熱情及簡明的話語給予配合。? 喜歡自命不凡，好為人師，只對商品服務(wù)品頭論足，根本不愿和別的銷售人員說話。忌：與其反唇相譏。（三）怎樣對待不同的顧客.? 1．夜郎型：生性高傲，說話居高臨下，盛氣凌人，容不的別人反對的意見，大有拒銷售人員千里之外之勢。? 2．挑剔型： 既有合理的需求，又有過分要求，喜歡無休止的挑剔。（以此換以折扣）? 方法：不必與他糾纏，一般情況下應(yīng)少說話，如果某些關(guān)鍵問題不給予澄清便會嚴重影響信譽和形象的話，則著重事實說話，如果對方挑剔當中提出問題，銷售人員應(yīng)抓住機會，有理有據(jù)的加以回答，附帶澄清一些其它方法不正確的挑剔之點。? 方法：銷售人員要切記“忍”字，盡量以溫和態(tài)度及談笑風(fēng)聲的語氣，創(chuàng)造輕松愉快的氣氛來改變對方的心態(tài)與情緒對顧客提到的反對意見，不要忌諱對方暴躁的態(tài)度，耐心合理的給顧客加以解釋，即使對方不服，大發(fā)雷霆，銷售人員不應(yīng)硬碰硬，應(yīng)婉言相勸，以柔克鋼。? 方法：銷售人員要有耐性，不要因為對方的自私言行而挖苦、諷刺。? 5．多疑型：這類顧客往往缺少經(jīng)營商品知識，購物時有過上當受騙的教訓(xùn)，因而，購物時抱有懷疑態(tài)度。? 沉穩(wěn)型：這類顧客老成持重，一向三思.? 方法：推銷員應(yīng)力求周全穩(wěn)重，說話可以慢一點，留有余地，穩(wěn)扎穩(wěn)打。? 方法：心平氣和，洗耳恭聽，梢加應(yīng)和，進而婉轉(zhuǎn)以事實說話做以更正、補充。? 方法：應(yīng)保持愉快，以柔克剛，為其設(shè)身處地、出謀劃策，處其當機立斷。? 方法：邊談邊察言觀色，不時捕捉矛盾的所在，有的放矢，抓住要害之處，小知以利，促發(fā)購買沖動，并步步為贏擴大戰(zhàn)果，促成其下定決心，達成結(jié)束。 ? 有條件的接受? 有的疑義本來提的并不確切，或者有片面性，但對商品和企業(yè)無關(guān)緊要。可采取重視與尊重的態(tài)度，表達一種理解或有條件接受的意見。? 有效比較? 有的顧客喜歡提出疑義，銷售人員可以用“田忌賽馬”的策略，使乙方的優(yōu)勢格外突出，有褒有貶，讓顧客認同我方的優(yōu)勢。? （五）怎樣促進成交? （*需要觀察仔細了解顧客的需求）? 釣魚促銷法：利用人們需求的心理，通過讓顧客得到優(yōu)惠或好處來吸引他們的購買行為。? 誘之以利法：通過提問、答疑、算帳的方式，向顧客提出購買商品所帶來