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38Таким чином промислово-технолопчний роз-виток у системi економiчноl безпеки держави Украши потребуе здiйснення комплексу заходiв щодо формування механiзму технолопчно! модершзацп промисловостi, створення сприятливих умов швес-тицшно! привабливостi краши, стимулювання нау-ково-дослвдно! та шновацшно! освггаьо! дiяльностi, заохочування пiдприемств до виробництва високо-технолопчно! продукцп, формування попиту на на-укомiсткi знання та забезпечення промислового сектору STEM-фахiвцями. А низька ефективнiсть ви-користання потенцiалу комплексу маркетингу на державному рiвнi, зумовлюе необхiднiсть застосу-вання маркетингових iнструментiв для реалiзацil промислово-технолопчного розвитку нацюнально! економiки в системi забезпечення економiчноl безпеки держави. Отже, промислово-технолопчний розвиток нацюнально! економiки е одним iз голов-них чиннишв забезпечення економiчноl безпеки держави, а роль маркетингових шструменпв у цьому процесi е вагомою.
СПИСОК Л1ТЕРАТУРИ:
1. Философский энциклопедический словарь / глав. редакция Л. Ф. Ильичев, П. Н. Федосеев, С. М. Ковалев, В. Г. Панов. - М. : Советская энциклопедия, 1989. - 1068 с
2. Новая философская энциклопедия в 4-х т. / [под ред. В. С. Степина] ; Ин-т философии РАН ;Нац. обществ.-науч. фонд. - М. : Мысль, 2010. - Т. 3. - 692 с.
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4. Смит Адам. Исследование о природе и причинах богатства народов [Текст] / А. Смит. - М. : Ось-89, 1997. - 256 с.
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8. Фшпенко Антон Сергшович. Цившзацшш вимiри eK0H0Mi4H0r0 розвитку [Текст] : [моногра-фiя] / А. С. Фшпенко. - К. : Знання Украши, 2002. - 192 с.
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15. Scopus:1. Vasyltsiv T., Lupak R., Osadchuk Yu. Assessment of the level of penetration of import dependence in the context of the import substitution policy in Ukraine. Економiчний часопис-ХХ1. 2017. № 167 (9-10). С. 13-17.
16. Собкевич О.В. // Загрози шновацшнш без-пецi у промисловосп та механiзми ix подолання / О.В. Собкевич /Стратепчш прiоритети .- № 3 (40), 2016.- с.220-236
THE COMMUNICATIONS' AND COMMERCIAL AWARENESS' PLACE IN HR MANAGEMENT
OF THE ENTERPRISE
Zerkal A.
Phd in Economics, Associate Professor, Deputy Head Associate Professor of Finance, Accounting and Taxation Department, Classic Private University, Zaporizhzhya, Ukraine
Abstract
Nowadays, many researchers argue that an organization needs a high level of commercial awareness to face the complex challenges in the world today. As development in commercial awareness, where the transformation from one stage to another includes and transcends the earlier stage, every new organizational form includes and transcends the previous one. Employers have got it into their heads that young people can't read or write any more.
One thing it is clear about is that people don't have the time to read long, complex reports or letters of advice that don't get to the point straight away.
Keywords: HR management, commercial awareness, staff, enterprise, communication, clients.
Going to help focus on the written language that you use when writing to clients. Most important advice is either given or confirmed in writing so you need to know how to do this. The good news is that you don't have to be a wordsmith (a great writer) to do it well. Imagine that you are giving me advice orally ('orally' means 'by mouth' which means 'speaking'). Think of what you would say in the first two sentences. It would probably be something like this: 'You asked me to look into whether your company can [do something]. I have done the research and my answer is that you can't do it the way you originally proposed, but there is another way in which you may be able to.' [1, p.1266].
You would then go on to list the pitfalls of what I had originally wanted, and then set out a possible solution. So those first two sentences tell me in a snapshot what I need to know. They also provide the structure of what you are writing. If you follow that order, I can skip to the second part of what you have written to see what the possible solution is.
Various things flow from this:
Use simple words - do not dress up your language to make it sound 'professional', the shorter the better.
Use short sentences - it's what you do when you speak. A sentence needs only a subject and a verb ('The man speaks') but can also have an object ('The company declared profits' - here the order is subject, verb, object) [2, p.6]. It's a good order to follow, one the brain takes in quickly.
Use the active not the passive ('The cat sat on the mat', not 'The mat was sat on by the cat' or 'The board passed the resolution' not 'The resolution was passed by the board') [2, p.6].
It's OK to end sentences with prepositions (words like to', 'in', 'on', 'at', 'from' - look how I ended the second sentence of my oral advice: 'be able to'. As Winston Churchill said: 'Having to avoid ending with a preposition is something up with which I will not put.' [2, p.7].
Don't use technical language unless you are sure the client will understand it - jargon can be a quick way of getting a point across but only if the client is also in the know.
A quick test: read aloud anything that you have written. If you run out of breath before you reach the end of the sentence, the sentence is too long. Break it into two.
Be careful about emails. Here are things to watch: Has your firm got a rule about only sending emails that a supervisor has checked? If you are allowed to communicate directly with a client using email, treat it as you would a letter: check spelling and grammar before you send it. It's better to be overly formal than too casual. A conventional beginning is to say 'Mr Shevchenko' or 'Chris' and to end 'Regards' (which can sound a bit too cold) or 'Best regards' [3, p.541].
Watch out for 'strings' - this is where a string of exchanges is built up between you and a colleague internally and you then copy the latest one to the client -who is able to scroll down to see all of the earlier email correspondence. I have known several occasions when clients have been bad-mouthed in an internal exchange and the string has then been sent to the client without anyone checking.
Don't write long emails: readers hate scrolling down and complex emails aren't easy to read onscreen - they have to be printed out. So why not send a brief email with an attached memo instead? [4, p.10].
It is easy to get the tone of an email wrong: try to be straightforward, factual and don't use humour.
If you receive a nasty email, sleep on your reply overnight before sending it - you will want to tone down your own invective.
Before sending an email ask yourself whether it would be better to pick up the phone.
Manage client expectations: if you get into the habit of replying quickly to client emails, clients will soon build up an expectation of rapid turn-around all the time - sometimes it's better to be more considered; at the same time, emails carry their own inbuilt sense of speed - don't leave an email more than 24 hours before you reply [5, p.301].
This is the way to write: the client can stop anywhere and they know what your point is. This isn't always easy (it never is - I think it was Mark Twain who said: 'I'm sorry this letter is so long; I didn't have time to write a shorter one') but it's what clients want. Sometimes you have to 'show your working' - to show all the background research on which you have based your advice in order to cover your ass (technical expression meaning: to make sure you don't subsequently get into trouble if you've got it wrong). If so, stick that stuff in a separate appendix at the end [5, p.302].
You may find yourself presenting to a roomful of clients. Remember that a presentation can be an inefficient way of getting information across:
- It is tiring listening to someone speak.
- It is easy to be distracted whereas when people are reading they tend to concentrate on reading.
- The acoustics may be bad and presenters often tend to have poor speaking voices [6, p.114].
So you need to signpost every part of your talk: 'Today I am going to talk about [subject]. The single most important point I am going to make is [point]. But I will also be covering three other aspects. Please ask questions as I go along, but I will also allow time for questions at the end.' [6, p.115].
The most important point is: do not read out your speech. At worst use notes. At best just speak to the slides (talk about each one as it comes up) - it's more natural, shows you know your stuff and engages the audience more.
Nowadays PowerPoint is almost expected - but only use it where necessary (audiences of more than
10). Increasingly, professionals are using slides instead of writing reports. So if you do find yourself preparing a presentation:
- Plan to speak for no more than two-thirds of your allotted time.
- Assume a maximum of one slide for every two minutes.
- Have no more than six bullet points per slide.
- Each bullet must be no more than two lines long.
- Use visuals where possible.
Like that: I prefer avoiding 'builds' (each bullet appearing separately) - I just put the whole slide up. Only use builds if you use a small number of slides and linger on each one (which I prefer not to do - people get bored) [7, p.503].
Don't read out your slides (the audience can do that for themselves) - just stress one or two of the bullets and illustrate them by giving examples and telling stories.
Do say things like 'My final point' and 'To conclude' and 'Finally' when you are more than halfway through - it perks the audience up and they are more likely to listen [7, p.503].
Make your last slide a blank one so that you know when you have finished without having to follow notes.
If people do ask questions from the floor, repeat the question (it gives you time to think) so everyone hears it.
If you don't know the answer, ask the audience what they think.
At best your reader will read what you have written only once (though most will, as we have seen, stop or try to stop all along the way). So you need to get your point across. If it's a complex point, don't expect the reader to go back and go over it again until they get it. They won't. Once you've lost the reader, you've lost the reader for good.
This means two things: don't use language or words that will snag the reader's eye mid-flow and make them lose the plot; and if it's a complex point, you may have to make it more than once. A limited amount of repetition is all right to get a complex point across: find a different way of coming at it, of expressing it so that - assuming the reader does get to the end -they know clearly what it is you are trying to say.
Something else flows from this. It's what I call the speed of eye-to- brain transmission. We read quickly: the eye takes in the words and feeds them back to the brain. The brain processes them. Even if some sequences don't appear to make sense, the brain is saying, 'There's a logical point to this - the writer strung these words together in this order to make a point and that point will emerge soon.' In other words, the brain suspends disbelief and is prepared to make small jumps to keep the message flowing [8, p.374].
We put these things in because we write much more slowly than we read, so, in writing, we assume it will take the reader as long to get down the page as it has taken us to write it. Wrong. The reader's eye is leaping down the page. What you wrote two pages back is still in the reader's mind. You don't need these explicit signposts referring back. It is still in the brain's memory
cache. So leave these connecting phrases out. They are stodgy, unnecessary and slow the reader down.
It's for this reason that you don't even need to say things like: 'There are three reasons why...' You don't even need to number them. Just give them and the brain will work out that there are three. The Economist is splendid at this - at leaving out these stepping stones. It knows the reader's brain can make the leap unaided [9, p.328].
Layout is important. It's a visual guide to the reader. Images make a bigger impression more quickly than words. Many business people are visual, many professionals are word- or number-driven. So use short paragraphs (a paragraph can be just a sentence long but if you do this all the time, the page can look bitty).
They break up the page and can provide structure. For instance if you make four points and give each a heading, you don't even need to number them, though that can also help.
Use bold to start a paragraph if you want to highlight a series of sub-points under a heading. It can be stand-alone You can run the sentence on (see previous paragraph) or, as here, treat the bold bit as separate from the sentence (this one) which follows on from it.
Don't use narrative lists: they are tricky to read; they aren't visual; they use semi-colons which look Dickensian but which you should use after a colon (as here); and if you're using a colon you're meant to put 'and' after the last one (as here). Use bullet points instead, because they: Look cleaner, Are easier to read, Avoid the need for semi-colons, Attract the eye to the page [10, p.1200].
Sometimes in a long list the repetition of 'they' at the start of each point makes it easier to read: the reader may have forgotten that the list was prefaced by 'they' by the time she gets to the bottom. For example:
Use bullet points instead, because:
- They look cleaner
- They are easier to read
- They avoid the need for semi-colons
- They attract the eye to the page
- Do use charts, graphs and flow-diagrams if possible [10, p.1201].
One final point about visuals. Instead of using brackets, use dashes (brackets can look introverted and have a habit of expanding so that by the time you get to the end you don't know what the sentence was saying) which tend to give a look of dynamism. Use dashes in the same way - to bracket off stuff which the sentence can live without - but with the benefit of that streamlined look on the page.
As one of the younger members of the team, you may be asked to help with marketing it by writing a brochure or newsletter. Brochures give details about what the firm can do for clients. Newsletters are a regular way of keeping in touch by containing articles on topical subjects that might interest clients. Here are some tips:
Use the brochure to tell stories about how the firm helped clients - and keep the stories anonymous: A company in the food industry needed to... we were able to assist by...' This is because clients are always wanting to know whether you have come across their issue
before and how you dealt with it. Their eye will be caught by a story which relates even superficially to their own predicament [11, p.281].
Don't use client lists - either the names are so well known that they are almost a 'so what' because they lack impact; or no one has heard of them. And mixing household names and nonentities can look bizarre. Besides, withholding client names shows you are discreet, which is what professionals are supposed to be (this is not the majority view, but it is mine).
Use ordinary language not the stilted or technical language of professionals. If you want to communicate with clients, use their language.
Write newsletter pieces like newspaper stories with a headline that says what it is about. Use diagrams and pictures if possible.
Give the answer. Professionals worry that if they reveal what clients should do, the clients won't come to them for advice. Rubbish: if you can tell a client the answer in two sentences, it's not exactly advice you can charge much for anyway. In fact, all pieces should pass the 'recipe test' - it's so useful the reader tears it out and puts it on their wall at work [6, p.115].
Part of your career development is about building a personal reputation. A traditional way of promoting oneself is through writing articles. What follows is subject to your employer's rules - usually you will have to get a supervisor's approval and work with the PR or business development department.
You don't have to be original or topical - there are perennial subjects that interest readers. Magazines like What Mortgage, Bride and Golf run the same articles in every issue (cheapest mortgage, how to arrange a wedding, how to cure your hook or slice) [11, p.281].
If you are writing about something topical, warn the editor as soon as you can so that (1) you get the editor's commitment to run it and (2) you beat your competitors to it. Editors usually respect embargoed information (information that they can't publish before a future date). Speak to the editor before writing the piece
- you want to know whether the editor wants it and, if so, the word length and deadline.
Never write more than the editor has asked for -it's always better to write less since the editor can make up the space with subheadings and pull quotes (text extracted and inserted in a large font between quote marks
- it breaks up the page). Otherwise the editor has to read, understand and shorten your piece. This is bound to cause mistakes. That's if the editor can be bothered. He may just spike it (scrap it) [11, p.282].
Never miss the deadline - editors are busy people and work to tight copy and press dates. As soon as you think you will be late, tell the editor and let him decide what to do. If the publication uses photos, send yours -editors like photos and readers like faces.
If the editor spikes your piece, don't get angry, Find out why: usually an advert came in late (adverts produce income so take priority). If the editor ran a piece by a competitor it's because that competitor has a prior relationship with the publication, which is what you want. So, as before, get the editor's commitment to run another piece next time [12, p.172].
If you need any other proof about visuals, think about how you first looked through this book - scanning the pages, your eye caught by anything visual. Use punctuation and grammar to help the reader. The only rule you need to apply is: does my use of punctuation make it easier for the reader to read what I am writing?
People feel strongly about commas. The English use commas in pairs, to bracket off a sub-clause, so the sentence reads equally well without that sub-clause (just like brackets - and dashes) as I've just done. Americans use commas to tell the reader when to pause for breath, even if there's no other reason for putting one in. So they will put a comma mid-sentence, and before the word 'and' (as I've just done). Don't worry about it. Both approaches are OK [9, p.327].
Important try avoid using the word 'important'. If you're an expensive professional and I'm a busy client, you're only putting things in writing to me if they are important. So spare us both telling me. And it's not just important, but it's very important to avoid using 'very important'. 'Very important' - for reasons I don't know - sounds even less 'important' than just 'important' does.
Be personal. When I ask people what they like about writing style, they often say things like 'sense of humour'. Humour in business is dangerous. One man's joke is another's bad smell. But what I think they mean is a sense of personality. If you are trying to build a relationship with a client in order to become, in David Maister's memorable phrase, their 'trusted adviser', then it helps to be personal. I've written this book in a personal style as if I'm talking to you, to engage your interest and earn your trust. Yet many pieces of written advice from professionals to their clients are written in cold, stilted, old-fashioned, pompous language which tells the client that the professional is on a different planet and doesn't care a diddly about the client's problems [9, p.327].
Be patient. Your supervisor is older than you. He or she was brought up differently. He or she will have particular writing preferences - we all do, and having anything you've written changed is like a slap in the face. So be patient. Write the way they want (they are, after all, your first client). And then when you get to be where they are, do your own thing and get your juniors to do it too.
Do what the client wants. All of this is irrelevant if it isn't what the client wants. If your client is a little old lady who expects 20 pages of closely-typed argument written in the sort of language that she expects professionals to use, give her what she wants - but make sure she pays for it.
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CHINESE AND INDIAN CORPORATIONS' PARTICIPATION IN ARCTIC PROJECTS OF RUSSIAN OIL AND GAS COMPANIES: SYNERGIES, CONDITION AND PROSPECTS
Kotomin A.
PhD, leading researcher, Department of economy policy and managerial activities in
Arctic and Far North regions, IES FRC KSC RAS, Apatity
УЧАСТИЕ КИТАЙСКИХ И ИНДИЙСКИХ КОРПОРАЦИЙ В АРКТИЧЕСКИХ ПРОЕКТАХ РОССИЙСКИХ НЕФТЕГАЗОВЫХ КОМПАНИЙ: СИНЕРГИЯ, СОСТОЯНИЕ И
ПЕРСПЕКТИВЫ
Котомин А.Б.
кандидат технических наук, ведущий научный сотрудник, Отдел экономической политики и хозяйственной деятельности в Арктике и районах
Крайнего Севера, ИЭП ФИЦ КНЦ РАН, г. Апатиты
Abstract
The need to diversify the export lines of Russian hydrocarbons, largely forced by the sanctions policy of the collective West, has contributed to the expansion of cooperation between Russian oil and gas companies and interested parties Chinese and Indian corporations. In time, these processes coincided with the start of major Arctic projects in the new oil and gas provinces of the eastern part of the Arctic zone of the Russian Federation (ASRF), as well as the increased use for the export of hydrocarbons of the Northern Sea Route (SMP), running from the New Earth to the Bering Strait. The combination of pipeline and shipping for hydrocarbon exports has improved logistics and increased flexibility in responding to global market signals.
Аннотация
Необходимость диверсификации направлений экспорта российских углеводородов, во многом вынужденная из-за санкционной политики коллективного Запада, способствовала расширению сотрудничества российских нефтегазовых компаний с заинтересованными китайскими и индийскими корпорациями. По времени эти процессы совпали с началом реализации крупных арктических проектов в новых нефтегазовых провинциях восточной части Арктической зоны РФ (АЗРФ), а также с активизацией использования для экспорта углеводородов Северного морского пути (СМП), пролегающего от Новой Земли до Берингова пролива. Сочетание использования для экспорта углеводородов трубопроводного транспорта с морскими перевозками улучшило логистику и повысило гибкость реагирования на сигналы мирового рынка.
Keywords: Russian oil and gas companies, arctic projects, Chinese and Indian corporation, cooperation, synergies
Ключевые слова: российские нефтегазовые компании, арктические проекты, китайские и индийские корпорации, сотрудничество, синергия
Наиболее показательно процесс сотрудничества корпораций из стран ШОС с российскими нефтегазовыми компаниями виден на примере экспорта арктического СПГ, осуществляемого ПАО
«Новатэк» из порта Сабетта - проект в котором активное участие приняли китайские корпорации. При этом сотрудничество не ограничивается только финансовой стороной проекта, а также
