How to sell more
at craft shows.
Stand out. Sell higher-priced work. Give the relationship somewhere to go.
The DeLand Craft Show offers a useful setting for a bigger conversation about handmade businesses: what happens before someone finds your booth, what helps them buy, and what you do after the tents come down.
You can spend forty hours making something beautiful, another six loading the vehicle, and an entire Saturday hearing, “You are so talented.” By Sunday evening, you have enough compliments to open a second booth. Unfortunately, your supplier continues to insist on money.
That is a familiar problem for a handmade business. People stop, admire, ask questions, and leave. The maker goes home wondering whether the work is too expensive. Meanwhile, one of those visitors is wondering whether the stained glass would fit their window, whether the leather bag comes with a longer strap, or whether anyone delivers the garden sculpture they cannot possibly carry to the car.
The work attracted attention. Somewhere between liking it and owning it, the decision became difficult. That is where I would start looking before buying a larger SALE sign.
Here in DeLand, the DeLand Craft Show brings artists and makers onto Woodland Boulevard downtown. MainStreet DeLand lists jewelry, wood crafts, bath and body products, pottery, apparel, leather, metal crafts, stained glass, garden art, bead art, live plants, and more. It is a useful example because those businesses can share a street while selling entirely different kinds of decisions.
DeLand Craft Show, Downtown DeLand
MainStreet DeLand lists the 2026 show for September 26–27 on Woodland Boulevard, with Saturday hours of 10 a.m. to 5 p.m. and Sunday hours of 10 a.m. to 4 p.m. Admission and parking are listed as free. See the official event page for current details and the crafter application.
This is PaperBoat Media’s independent business guide for exhibitors. The advice applies to craft shows elsewhere; the event details above refer specifically to the 2026 DeLand show.A crowd gives you an opportunity. It does not make the sale.
Someone buying a handmade soap may need to like the scent, understand the ingredients, and feel comfortable with the price. Someone considering a substantial piece of woodwork may need measurements, delivery information, a conversation with a spouse, and some confidence that the maker will still answer the phone after the weekend. Treating those purchases identically leaves one customer overwhelmed and the other underinformed.
Higher-priced is relative, too. A $90 object may be a major purchase for one visitor and an easy gift for another. You cannot reliably identify either person by what they are wearing. This is Florida. The man in the faded fishing shirt could own three businesses or be borrowing nine dollars. The shirt has declined to comment.
Pay attention to what people ask and what they are trying to accomplish. A good sales conversation helps the visitor determine whether the work belongs in their life. Your presentation, pricing, information, and follow-up should make that judgment easier.
There is also a decision to make before applying: does the show suit your business? Examine the organizer’s positioning, permitted merchandise, vendor mix, practical requirements, and your own results from comparable events. Attendance alone cannot tell you whether the audience wants what you make. A well-run show can still be the wrong commercial fit for a particular range.
Give people a reason to look for your booth.
“We’ll be at the DeLand Craft Show” tells people where you will be. It does not tell them why they should interrupt their Saturday to find you. Show several pieces you are bringing and explain something worth noticing about each one. Use accurate photographs that reveal scale, texture, detail, and use.
A leatherworker can show how a strap attaches and explain what can be repaired. A potter can demonstrate the balance of a mug in the hand. A woodworker can show why a particular board shaped the finished design. Those details teach someone how to look at the work. “Made with passion” mostly confirms that nobody has yet found a marketing use for mild indifference.
Show the result of your judgment. Time matters to your costs, but the buyer wants to understand what the finished object offers. Forty hours can produce extraordinary craftsmanship or a fairly serious scheduling problem. Explain the fit, finish, originality, function, or meaning those hours created.
Let customers prepare, too. If you sell substantial wall pieces, suggest bringing a photograph and measurements of the space. If you accept commissions, explain which details help you assess a project. Show representative prices or ranges where practical. A visitor who already understands that your work begins at several hundred dollars can arrive ready for a useful conversation.
Create one easy-to-find page or post with your confirmed event participation, selected work, booth location when assigned, contact information, and any collection or delivery options you genuinely offer. Test it on a phone. Someone standing in downtown DeLand should not need archaeological training to locate your latest announcement beneath six months of social posts.
Invite previous customers selectively. Send the person who bought a botanical piece something relevant from the new collection. Tell a past commission client what you are currently making. A thoughtful invitation gives people a reason to return and something specific to mention to a friend.
If you are reading this while loading the car, concentrate on what can still help: publish accurate booth information, photograph a few important pieces, make prices easy to understand, and decide how you will record follow-up requests. You can build the longer preparation cycle before your next show.
You can spend forty hours making something beautiful and an entire Saturday hearing, “You are so talented.” Your supplier continues to insist on money.
Your booth sets expectations before you say a word.
Expensive fixtures are optional. Care is visible at almost any budget. A clean covering, legible information, considered spacing, and an unobstructed view of the work can do more than a collection of props competing for attention. Every object you put in the booth becomes part of the customer’s assessment, including the cardboard box you meant to hide.
Give visitors a clear first impression from the aisle and somewhere comfortable to go when they step closer. Present your strongest work where it can be understood. Think about sightlines, accessibility, changing daylight, and the space needed to examine an item without feeling trapped in a conversation. Follow the organizer’s setup and safety requirements, especially for an outdoor display.
A crowded table can make distinct pieces look interchangeable. Leave enough room to compare, and use restrained explanations where the value is not obvious. A photograph showing a large piece in a real setting can establish scale. If it is a mockup, identify it and keep the proportions honest.
Affordable work can belong in the same booth as expensive work when the range makes sense. Smaller pieces should carry the same care and identity. Position them so quick transactions do not block the visitor trying to evaluate a substantial purchase. If you work alone, simple packaging and visible prices can save attention for conversations that need you.
The most expensive piece also needs a credible reason to be there. Bringing a spectacular object solely to make everything else seem cheap can waste space and inventory. Bring work that represents what you want to sell, what you can fulfill, and what the event’s audience has a reasonable chance of choosing.
Sell what matters about your particular kind of work.
The DeLand Craft Show’s range of vendors makes this especially clear. The following examples are practical selling scenarios, not descriptions of particular exhibitors. A blanket instruction to “tell your story” is too vague to help someone decide between a necklace, a planter, and a commissioned bench.
Jewelry and beadwork: help someone picture wearing it.
A beautiful piece still has to work on a person. Make dimensions, materials, closures, and available lengths easy to understand. Provide a suitable mirror and a thoughtful way to examine or try the work. Gift buyers may need help considering the recipient’s preferences rather than choosing whatever the giver happens to like.
Explain specific construction choices and stone or material information accurately. Be precise about what you make, assemble, source, or customize. For a higher-priced piece, clarity about sizing, care, repairs, and any applicable exchange policy can matter as much as the display. “She can probably wear it” is not the reassurance a nervous gift buyer came for.
Woodwork and furniture: make the piece fit the customer’s life.
Visitors may admire grain before thinking about dimensions, finish, maintenance, or delivery. Help them make that transition. Show details that distinguish the work and have measurements available. If the piece is for food preparation or another specific use, describe only suitability you can support.
For custom furniture, keep completed-project photographs and a clear inquiry process ready. Record dimensions, intended use, material preferences, budget range, and timing before promising a price. A booth conversation can begin a serious commission; it should not accidentally commit you to building an undefined object by Thanksgiving.
Pottery: let people understand the object through use.
A mug is held, a bowl is lifted, and a serving piece has to belong on somebody’s table. Where safe and appropriate, allow handling. Explain capacity, care, and practical characteristics rather than assuming the glaze will answer every question. State dishwasher, microwave, or food-use suitability only when you know it applies.
Show how pieces can work together without requiring a large set purchase. For a statement vessel, establish scale and the kind of placement it suits. Protective packaging and a reliable collection arrangement may resolve more hesitation than a lower price.
Leather and apparel: show what changes with ownership.
A leather bag has to carry things, sit comfortably, and suit the way its owner moves. Demonstrate capacity, strap adjustment, closures, construction, and the way the material is expected to wear. Explain your repair service if you offer one. A customer evaluating years of use needs more than a description of the color.
For apparel, make sizing and fit understandable and provide an appropriate way to assess them within the event’s setup. Have accurate care information and clear policies. If a size is unavailable, explain whether it can be ordered and when. Do not turn an interested buyer into a detective searching for the one remaining medium.
Stained glass, metalwork, and garden art: solve placement.
Light, weight, dimensions, mounting, and exposure can determine whether a piece is suitable. Show the work under representative conditions and explain what the buyer will need to install or display it. Distinguish indoor from outdoor suitability and describe weathering honestly. “It will be fine outside” needs a better foundation than the fact that you are currently standing outside.
For larger pieces, transport may be the deciding issue. Have an accurate delivery area, pricing approach, and handling plan. If installation requires another professional, make that clear. The customer should know what ownership will involve before paying.
Bath and body products: make repeat buying easy.
Scent, texture, ingredients, presentation, and intended use can drive the decision. Keep labeling and product descriptions accurate, make ingredient information accessible, and avoid unsupported treatment claims. Follow the event’s requirements for any sampling and use a hygienic process.
A customer who loves a product should be able to identify and reorder that exact version after the packaging is opened. Put the product name and a reliable reorder route where they will survive the weekend. Thoughtful combinations can suit gifting, but a bundle should make sense before it receives a ribbon.
Live plants: sell a realistic chance of success.
A visitor may love the plant and have entirely the wrong place for it. Ask about light and location, then offer an appropriate choice with useful care information. Label the plant accurately and explain relevant characteristics you know, including mature size and handling considerations.
For a more expensive specimen, help with transport and the first days at home. A repeat customer begins with a plant that suits the person’s conditions. Selling the wrong one with enormous enthusiasm merely schedules a disappointment.
The customer’s question is more useful than your rehearsed speech.
When someone stops, give them a moment to look. Then begin with what has actually caught their attention. If they are examining a finish, explain it. If they are comparing two pieces, ask what difference they are considering. If they mention a room, a recipient, or a practical use, follow that thread.
You do not have to recite your life story every time someone enters the tent. A visitor looking for a necklace for her sister may be interested in your creative journey. She is more immediately interested in whether her sister can wear the necklace. Start there.
Questions about size, delivery, customization, and care deserve complete answers. Avoid assuming that hesitation is a request for a discount. Sometimes the piece is simply wrong for the situation. Say so and suggest a better choice if you have one. A trustworthy recommendation can be more valuable to your business than forcing a purchase that will disappoint.
Give people room to leave. Standing between a visitor and the aisle while explaining your artistic philosophy is a surprising way to enter the security industry. A welcoming booth makes browsing comfortable and allows serious conversations to develop without obligation.
When you have more than one person helping, agree on who handles quick transactions, who discusses commissions, and where important information lives. ArtBinder’s fair guidance emphasizes ready access to inventory, prices, presentation materials, and customer interests. A small maker can apply that principle with a simple, accurate system; the customer should not have to wait while everyone searches their phones.2
A discount can make the sale look better than the business.
Consider an illustrative piece priced at $400 with $200 in direct production costs, including the maker’s production labor. Before event expenses, payment costs, and other overhead, that leaves $200. A 20 percent discount drops the selling price to $320 and leaves $120. The customer saves 20 percent; the amount available to cover those remaining costs falls 40 percent.
Illustrative arithmetic, not an exhibitor’s results or an industry benchmark. Actual costs and accounting treatment vary.
This does not make every discount a mistake. It makes discounting a decision that deserves arithmetic. If the underlying problem is uncertainty about size or delivery, reducing the price may give away money without resolving the hesitation.
Say your price comfortably and explain what it includes. Then allow the customer to respond. Answer the real question before inventing a cheaper offer. A customer might need a smaller piece, a different scope, a measurement, or time to discuss the purchase. A lower price does not make a cabinet narrower.
Use payment arrangements only when you have clear terms and a process you can manage. For custom work, document scope, payment stages, timing, approvals, and how changes are handled. A deposit is a commitment with fulfillment obligations, not a prize for having an excellent conversation.
The buyer is also deciding whether to trust the person behind the work. Accurate descriptions, consistent pricing, realistic promises, and a professional order record help them understand that paying a substantial amount at a temporary booth can still lead to a dependable experience.
A customer might need a smaller piece, a different scope, a measurement, or time to discuss the purchase. A lower price does not make a cabinet narrower.
The beautiful thing still has to get home.
Imagine a couple who wants your garden sculpture. They have a small car, lunch plans, and no obvious way to carry it through downtown. The work has earned their interest. Ownership has become a logistical assignment.
Plan the options you can reliably offer before the show: collection later in the day, studio pickup, local delivery, or shipping for suitable items. Know the charges and limits. Have packaging that protects the object and a written record that identifies it. If you offer a hold, explain when it expires and what happens next.
Test the payment process and understand what happens when connectivity fails. Keep any backup secure and know how to confirm whether a transaction completed. A person spending a meaningful amount should not leave wondering whether they bought one object, two objects, or accidentally sponsored your phone bill.
These details have something in common with the buying obstacles inside museum and attraction gift shops: people can want a product and still abandon it because the next step is inconvenient. The maker who solves that problem has improved the offer without changing the object.
Help the person who has to explain it to someone at home.
“I need to talk to my husband” or “I need to check the room” may be a polite exit. It may also be exactly what the person needs to do. Give them a useful way to continue, without turning the exchange into a cross-examination.
With permission, send a photograph of the actual piece, its identifying name or number, measurements, price, and the practical information discussed. Link directly to the item when you have a suitable page. A business card helps someone remember you; a picture helps them remember what they wanted.
The absent person never heard your explanation or saw the finish in the light. Provide enough information for a fair decision. Do not make your potential customer reconstruct a sales presentation from memory while standing in their kitchen.
“Would it help if I sent a photograph and the measurements so you could look at it in the space? I can include the delivery information we discussed.”
That offer has a purpose the customer can understand. Record what you promised and the channel they agreed to use. Permission to send dimensions is not an invitation to add someone to every promotion you run for the next decade.
A QR code can make the handoff easier, provided it leads somewhere useful. Sending an interested buyer to a generic homepage makes them start searching again. Keep essential prices and information visible in the booth, too. The phone should assist the conversation rather than become the entrance exam.
Follow up as though you remember meeting them.
A visitor asked about a walnut console for a narrow entryway. On Tuesday, they receive a newsletter thanking everybody for a fantastic weekend. You have technically contacted them. They still have no idea whether the console will fit.
Keep a simple record of meaningful conversations while they are fresh. Note the piece, intended use, open question, promised information, and agreed next step. Collect only what you need and keep it somewhere secure and usable. A sophisticated customer system that you never open is less helpful than a modest one you maintain.
Send what you promised when you said you would. Remind the person which piece you discussed, answer the question, and make the next step easy. If they requested a quote, send a quote. If they asked you to contact them next month, remember next month. Artist business educator Alyson B. Stanfield’s guidance on follow-up emphasizes having a repeatable system so promising conversations do not disappear into ordinary work.3
If the piece has sold, be straightforward. Explain a relevant alternative or whether a related commission is possible. Never invent another interested buyer to manufacture urgency. Scarcity can be real in handmade work; it does not need a fictional supporting cast.
For repeatable products, make reordering obvious. The customer who loved the soap should be able to identify the scent. The person who bought earrings should be able to find the matching piece if one exists. Maintain accurate availability and lead times. The convenience of the second purchase can be one of the most useful things you design.
Give purchasers attention as well. Confirm collection or delivery, provide care information, and respond to questions. If someone sends a photograph of your work in their home, ask before sharing it. There is a relationship here worth treating with the same care as the object.
Do the accounting after the compliments wear off.
Evaluate booth sales and later business that genuinely began at the show. Keep attribution simple: record where the conversation started and when it became an order. Choose a review period that suits your normal buying cycle. An inexpensive gift and a substantial commission do not always reach a decision on the same schedule.
Include the costs of making and selling the work: materials, production labor, booth fees, travel, lodging where relevant, help, packing, payment fees, and fulfillment. Give your own time an honest place in the evaluation. Do not count a commission deposit as though the remaining work and costs have vanished.
Look at the quality of inquiries. Ten suitable commission conversations can be more useful than a long list collected through a giveaway, but inquiries are still not completed sales. Track what happens. Otherwise, “great exposure” can become the phrase that prevents an unprofitable event from ever being questioned.
Examine what made the difference. Which pieces stopped people? Which questions recurred? What sold later? What information helped the buyer decide? Was the assortment right for the audience? Did quick transactions prevent you from serving a serious prospect? Change the next show’s plan using what you actually observed.
A busy neighboring booth tells you almost nothing about its costs, margins, or customer relationships. Judge your event against your business goals rather than the number of bags leaving somebody else’s tent.
A few decisions worth settling before setup.
Should I display prices on higher-priced work?
Clear prices help visitors understand the range without having to initiate a potentially awkward conversation. For custom work, give a useful starting range and explain what changes the cost. Present prices cleanly alongside the information needed to understand the piece.
Can I sell expensive pieces at a general craft show?
It is possible, but the audience, event positioning, work, presentation, and buying process all matter. Give a substantial purchase the information and service it requires, and allow for suitable follow-up. Review actual sales and completed commissions before deciding that the event fits your business.
Should I bring cheaper products just to make sales?
Bring accessible products when they suit your identity and make financial sense. Consider production time, packaging, and the attention required to sell them. A busy low-price range can be useful, but it can also distract from the work you most want to build your business around.
How soon should I follow up after a craft show?
Honor the timing agreed with the customer and send promised information promptly. Where no timing was set, follow up while the conversation is still fresh, with a useful answer and a relevant next step. Respect a decline and keep ongoing marketing permission separate from a specific request.
Where can I find DeLand Craft Show vendor information?
MainStreet DeLand’s official DeLand Craft Show page links to the crafter application and provides event contact information. Use the organizer’s current instructions for participation, setup, and event details.
Give the buying experience the same care as the work.
The DeLand Craft Show provides the setting for this article, but the underlying decisions travel. A customer in another town still needs to understand the work, feel comfortable with the maker, and know how a purchase will fit into their life.
Before the show, give people a reason to seek you out. At the booth, help them look, listen to what matters, and resolve practical concerns. Afterward, continue the conversation with enough care to remember what it was about. Each part helps the effort you put into making the work become a business capable of supporting more of it.
You deserve to hear that you are talented. You also deserve a process that gives the person saying it a reasonable opportunity to become a customer.
You know how to make the work.
Let’s make the business stronger.
I help makers and creative businesses examine how their positioning, presentation, pricing communication, website, and follow-up affect sales. If people consistently admire what you make but hesitate to buy, we can look at where the decision stalls and what is worth changing.
Explore my consulting for artisan brands, or bring me the problem you keep encountering at the booth.
Talk with Rob about your business