Makers undersell their own work in two reliable ways, and both are habits rather than errors of fact.
Apologising for irregularity
Tool marks, slight asymmetry, glaze variation: these are evidence of the hand. An apology turns evidence into a defect in the buyer's mind. Explain instead.
Pricing against machine-made versions
Somebody in your room can buy a factory version for a fraction of your price, and they are not your buyer. Competing on that number sets a floor you cannot live on. What handmade work is worth.
Not saying how long it took
It is the most persuasive sentence available to you and it costs nothing.
Not naming the technique or the region
A craft name carries the technique, the materials and often generations of practice. Use the real one, then explain it in a line.
Being unclear about ready-made or made-to-order
"This exact piece" and "one like this" are different promises. Say which.
Packing without padding the edges
Fired, carved and lacquered work chips at the rims, points and handles. Pad each projecting part before wrapping the whole. Packing handicrafts.
Using newspaper against the surface
Ink transfers onto porous and pale work. Plain paper or tissue first.
The one that costs most
Selling below your floor to make a sale. Materials plus hours is not a negotiating position. Doing it once is a bad night; doing it regularly is a business that cannot continue.
Questions people ask
Should I sell seconds?
Yes, labelled as seconds, with the fault shown. Buyers like them.
Do I have to name myself?
It helps more than almost anything else once people start to recognise your work.
What if a buyer asks for a discount?
Know your floor before the show, and the answer is easy.