Most listing presentations are a résumé.
This one is a work order.
You are not hiring us because of how long we have been doing this. You are hiring us because of what gets done to your house between the day you sign and the day it is public — and because that list is the same every time, written down, in order, whether the house is $2M or $20M.
So rather than tell you about ourselves, here is the program itemised. Eighteen acts across four phases, each one with the reason it exists. Ask any other agent for the same list.
Everything that happens
to your home.
Four phases, eighteen acts. Nothing here is optional and nothing here is billed as an extra.
A buyer profile and a shot list, on paper, before a single photograph is taken. Everything downstream answers to it — which is why the campaign never becomes a series of unrelated decisions made in a hurry.
Trades scoped, scheduled and supervised by us, settled at close. The house is seen at its best the first time, by the buyer who was always going to pay the most for it.
Your home described by someone who writes for a living. Bedrooms and bathrooms are a spreadsheet; what a house is actually like to live in has to be written.
Shot by an architectural photographer on a tripod, lit and corrected, not walked through with a wide lens. Buyers decide inside three frames whether to keep scrolling.
The acre, the setback, the tree line, the way the drive arrives at the house. Land is most of the value at this price and it cannot be photographed from the ground.
A film with a sequence and a score, cut for the audience that will actually watch one. It is the asset that travels furthest when an out-of-state buyer forwards it to a spouse.
A buyer nine time zones away can walk the floorplan at 2am and measure a wall. It removes the single biggest reason a distant buyer never makes the trip.
One address, your home only, nothing competing for attention in a sidebar. It is what goes on the brochure, in the email and on the sign.
Every field completed and every image at full resolution, so the listing arrives correct on the portals rather than cropped and half-populated.
Budget aimed at the people who can actually buy it — by postcode, by income, by the things wealthy households search for. Not posted to a page and hoped over.
Forty years of accumulated contacts — past clients, local agents, the people who told us what they were quietly looking for. The list is the reason some homes sell before they are public.
Something heavy left on a kitchen island after a showing. Print is how a house stays in the room for the three days a couple takes to decide.
Posted to owners of comparable homes nearby. The buyer for a peninsula estate is very often already on the peninsula — and has a friend looking.
Placement in front of a readership that already thinks in this price band, where your home sits beside editorial rather than beside cheaper inventory.
Placed with the international portals, relocation desks and overseas brokerages by name. A $9M house is bought from Singapore or Zurich as often as from three towns over.
Walked in front of the agents who represent the buyers, before it is public. They are the ones holding a client who has been waiting for exactly this street.
Properly hosted and staffed, with every visitor recorded and followed up. Volume creates the competition that produces a second offer.
For the buyers who will not attend anything public and the sellers who would rather not advertise that they are moving. Quiet is a feature at this price.
“We interviewed three agents. Two told us about themselves. These people handed us a list of eighteen things and a calendar.”