Entries Tagged 'Copywriting 101' ↓

If you’re a manager who hires creatives, here’s some friendly advice: pay them on time, Or, even better, surprise them with a check well in advance of the due date. Most writers and designers are not the best money managers and this simple gesture will earn you Pavlovian gratitude as well as better, prompter work in return.

On the other hand, if you have an accounting staff that uses the “slow pay” scheme to manage cash flow, fight like hell to get your creatives excluded from the extended payment schedule. When they are distracted by worrying about paying their utility bill or putting food on the table, how can they give you their best work? When you don’t honor your commitment to them, how can you expect them to be conscientious about your own deadlines?

I forgot to mention the above in my earlier post on pricing and getting paid during a recession. Meanwhile, my own experiences with clients coping with tough times continue. I engaged in extensive dialog and estimating with a prospect and she finally told me her budget was $300-500 for a new website and collateral. It’s hard to imagine what you can get for that except maybe installing a pet door.

Meanwhile, just started working with a new agency client which said my rate is fine, I can track my own hours, and they’re sending the paperwork in the morning. I was so pleased to be back in a grown-up relationship that I immediately spent a couple hours researching the project, on my own nickel.

A creative brief is a contract between the account team or project “owner” and the creative team. It quickly defines a marketing project so the creatives know what it is all about, what it’s trying to accomplish, and what are the budget and other parameters—no coming up with a web video when the brief calls for a small space ad.

I’ve worked with creative briefs from several dozen marketers and agencies over the years. Although there are variations, most follow the same outline—a series of questions which are answered by the account folks, approved by the client, then handed off to creatives:

1. What is this project about in a sentence?
2. What are we trying to accomplish?
3. Who is the audience?
4. What do they think about our product or service now?
5. What do we want to think? Is there a specific action we want them to take?
6. How are we going to accomplish this?
7. Is there a specific offer?
8. What are likely objections and how can we handle them?
9. Are there any delimiting budget or production considerations?
10. What sacred cows, legal mandatories etc. should we be aware of?
11. What is the schedule?

As a copywriter and creative director, I like working with a creative brief very much. It reduces the element of surprise, tell me my clients will act professionally (and not pile on deliverables or insist “that’s not what I asked for”), and helps me organize my own thinking. In fact, if a creative brief isn’t provide I’ll write one for myself as a way to jumpstart my diminishing brain cells. (But I don’t tell anyone… this is a private and personal exercise. And I never write a creative brief on behalf of a client—something I’ve been asked to do—because that defeats the whole purpose of the document.)

In my copywriting class, I ask the class how many of them have worked with a creative brief and the “yes” group is always under 50%. Then we do an exercise in which we divide into teams and each group follows a prewritten brief to come up with a concept for a space ad. (The class is primarily about writing email and direct mail, but the space ad gives us something to show.) This is a very popular activity. Afterward most of the students say they will demand, or write (if  they’re managers), a creative brief for their next project.

Not everybody I work with personally gives me a brief. Almost without exception the clients who provide a brief are more organized, better funded, and less likely to self-destruct in the middle of a project. Yet it doesn’t cost anything to write a brief, just time and thinking you should invest anyway toward a successful result.

If you’re not now using a creative brief, give it a try on your next project. You will be pleased.

A long time consultant client, concerned about the recession, asked me to cut creative pricing to the bone on a couple of recent jobs then came back and asked me to cut again. I agreed because I was well, concerned about the recession.

An interesting thing happened on both these jobs. Instead of being happy they were getting fantastic value, both clients tinkered with revisions long past the point of reasonableness. In one case, I think the client tinkered to the point that he did his message serious harm.

I caution my students against doing spec work because free is worth what you pay for it; the spec work will be lightly regarded and clients will either not read it or will be butchers with the edit pencil. This is a similar situation, I think. The price is so low that subconsciously, the client thinks the creative can’t be very good. So no worry messing with it.

In general I’ve avoided cutting prices the past year because of experiences like this. If a client balks at an estimate, I ask what they are concerned about. If they have a number in mind, I try to deliver quality for that without compromising.

Hourly rates have been a particular concern. My rate isn’t the lowest. So if a client asks what my rate is and says “I can’t pay that” I say let’s throw out the hourly rate and look at an overall budget. They are happy, but I still end up charging my rate or close to it.

It will be good when times are better again and we can concentrate on doing great work that builds our clients’ businesses and pays for itself in measurable response.

A client and I got into a wrangle recently when he asked me to write a “CEO letter” to other top execs who would be joining him at an event, and the result was not what he expected.  Here’s what I responded by way of explanation:

There’s been a fair amount of discussion and research on this topic in the DM community, as you might expect, and I’ve myself written a number of “C level” or “CEO” letters over the years. I think there is universal agreement the most important characteristic is BREVITY.  An efficient CEO is not going to get down in the weeds of an issue because of an unsolicited letter. What you need to do is instantly establish relevance, describe an action which is quick and easy to take—eg NOT “I am going to take time to research this company because they have provided me with some interesting stats and education” but rather “I am going to ask my marketing director to include this company on his short list to check out”—and then get out.

As for tonality, the most important element is showing the reader you respect his or her time as a fellow CEO and makes clear the offer of a personal demo. The tonality consists in being brief, terse and to the point much as if you would be talking to him or her in person.

Do you write letters to high level executives in your own marketing? What works best—brief and to the point, or laced with personal elements? (That’s what my client was expecting, I think.) Inquiring minds (mine, anyway) want to know!

David Ogilvy said that the only function of the copy and art on the outside of an envelope is to get it opened. As a corollary, Herschell Gordon Lewis (I think) said that the majority of the creative energy on a project should be lavished on the outer envelope. Same goes for subject lines in email.

All of which makes me wonder what was the process by which today’s example envelope got into the mailsteam. You can see it here: the plaintive muzzle of a loveable dog, with the teaser “When your pet dies, will you know what to do?”

It’s from the Olivet Memorial Park, presumably not a huge outfit to whom this project was so trivial they chose the first headline that came to mind. I imagine there was quite a debate. There might even have had a presentation from a copywriter who came up with this head, and told them why it was really good.

There are many motives to get people to open an envelope. Guilt, for example. “Your pet gave to you all her life. Now it’s your turn.” Or just love between a person and pet. “Now there’s a place to share forever the love you have.” But instead Olivet’s advisory board chose the practical way: “When your pet dies, will you know what to do?” There will be a body to dispose of, probably some health laws to follow, hmm. Yet I would bet if you did an A-B split against virtually any emotional headline, the emotion will win every time.

And on actually opening the envelope, I find that there are indeed some emotional appeals. “Losing a pet is as painful as losing any other family member”… and an offer of a “Pet Memorialization Planning Program”. Putting one of these messages on the outer would certainly have boosted its effectiveness but, like a canny minor league pitcher, Olivet wanted to save its best stuff until last… after the crowds have departed.

As I was writing this, I happened to come across the example “if you died today, who would take care of your family?” web banner and wondered if this was the inspiration for Olivet. But look at the differences. It’s a very clear and specific concern vs “what would you do?” Plus, people trump animals every time.

Work hard on your outer envelope or subject line. Work on everything, but especially on that. If you don’t, you may end up in the pet cemetery.

When economic times are bad and marketing budgets are tight, every promotion has to work harder than ever to pay back its investment with increased sales, leads or visibility. The good news for copywriters is that often we can improve return on the marketing investment with better response at no increase in costs, simply by wringing out every last benefit and bringing it home to the reader.

But how do you deliver a positive message when the news all around you (maybe even including the news you need to deliver in your copy) is bad? Here are three pointers.

Rule #1: Don’t go negative. Stick to a positive message in your copywriting.

At several points in my copywriting career I’ve felt like I uncovered a powerful “warning” or “caution” theme that outweighed anything positive I could say. And every single time this approach was tested, I’ve been blown out of the water by a bland and generic benefits-oriented message that handily defeated my negative scalpel twist.

The reason, I think, is that readers go through a filtering process before they get to your copy. Themes like “how to survive the coming depression” may be fine for best sellers, but people volunteered to read those books or watch those TV shows. You, on the other hand, are one flick of the finger away from the recycling bin or a click to the next web page. You have to earn a reader’s acceptance before they will permit you to market to them. And if you scare them on your initial approach, they’ll simply run away.

Tip #2: Be nurturing. Write copy your readers want to read.

Today’s consumers, even business people, are hurting and they want coddling however they can get it. If you can take them to a quiet and reassuring place even for a few minutes, chances are they’ll stick with you till you get to ask for the order.

One of the most successful promos I was associated with was a subscriber acquisition package for Great American Recipes during the early 1990s recession. It became the first non-sweepstakes control for this marketer by delivering a message of comfort and nostalgia:

Remember when good food meant the best times you ever had with your family and friends?

I’m talking about lazy summer evenings serving home-made ice cream on the screen porch. The fine feeling of knowing everything was cooked just right, and there was plenty to go around. The warmth of neighbors sharing recipes, in a cozy kitchen on a cold summer night…

We haven’t even gotten to the product yet, but this was already outpacing “you may already have won” even in tough times. And an extra benefit is that the product I’m selling is depicted as taking them back to happier days… so not only are readers more likely to order, they’re also more likely to keep the product (the initial pack in a recipe card continuity program) instead of sending it back when it arrives in the mail.

Tip #3: Be specific. Believable copywriting is effective copywriting.

Readers are extra-crabby and hyper-sensitive when they feel threatened. Even more than usual, they’re on the alert for flabby generalities and statements that are not supported by facts. The truth is your antidote, but you also need to be very clear in your writing so readers know you’re telling the truth.

Non-profit fundraising writers know about this challenge because for them, times in are always bad which is why they are raising money. Herschell Gordon Lewis shares a great example of bad fundraising copy, a letter that stars with a sentence something like “Around 2 million people in the western Sahara will go hungry this summer”. The word “around” is the deal breaker. If the writer didn’t care enough to find a more exact number, why should the reader care?

The other challenge is that huge negative numbers seem overwhelming. It’s terrible if famine threatens a region, but what can I as an individual do to help? On the other hand, if I understand that my $100 contribution saves 40 children with diarrhea, that’s that is something I can manage. Apply the same rigor to your benefit statements or descriptions no matter what the product or service, and you’ll be better off in bad times.

A promotion that follows all these rules is a lead generation letter for a major insurance company. It’s about long term care insurance and it starts with the “bad news” that Medicare is not going to cover your expenses in retirement like you thought it would. The lead sentence of this letter is what makes it work and it’s actually very close to something I heard from a salesman during a brainstorming session:

Every one of us would like to live well in our later years and leave some money for the next generation. Is that too much to ask?

Unfortunately, this modest dream could be shattered if you one day need assisted care in a nursing home… in fact you have a 40% chance of being in a nursing home after age 65. A nursing home stay can be expensive, averaging more than $180,000 nationwide. And it can be demeaning, robbing us of our choice and dignity.

Fortunately, Long Term Care Insurance is now available from ((client name)) that helps retain the very options that expensive long term care takes away…

This delivers one specific jolt of bad news (and carefully modulated outrage) but immediately provides the solution for it and proceeds to coddle and nurture the reader for the rest of the letter. It’s been the control for going on 10 years and I expect it will only do better in the current economy. Try the same formula in your own writing and see if you don’t succeed, good times or bad.

NOTE: I’m in the process of installing the contents of my DMA “Copywriting that Gets Results” course on this website. Watch for more articles and pointers coming soon.

Want to get more people into your trade show booth? Yes, you do, because a crowded booth creates buzz and attracts still more people, and a certain number of those will end up being qualified prospects.

You can do a lot to influence traffic with the design of the booth itself. Do: allow for a seamless flow of traffic from the show floor into your booth… so people can find themselves inside your booth without expecting it. This means minimizing the use of registration kiosks that throw up a barrier. Do: use people imagery in your booth signage, especially people who make eye contact with passers by.

Don’t: put kiosks in the far corners of a large booth. They create a desert island effect, making your booth look empty even when it isn’t.  And especially don’t: put up walls or barricades of any kind that people have to pass through to get into the booth. They simply won’t do it and your trade show will be an unsuccessful and lonely experience.

You can also build traffic prior to the event by inviting customers, prospects whose contact information you have collected, and possibly registered attendees (depending on how much it costs you to use the list, it could be a good deal or not) to come to the booth and get something specific with solid perceived value: a new research report on trends in your industry, for example. Don’t invite them just to check out your new product line, that’s not a strong enough call to action. A drawing or bring-this-postcard-for-a-free-gift will also work, though as with other soft offers this means more response but less quality.

Three years ago, I did a post on newspaper inserts and the Super Bowl… and how snack manufacturers contort themselves to create a “big game theme” without ever actually mentioning the Big Game, which is a copyrighted product with big licensing fees attached. Looking at this past Sunday’s crop of FSI’s, it’s reassuring to see that nothing has changed. The nation’s economy may have melted down and the web has transformed marketing for most products, but for salty snacks and their teammates it’s still “game on”.

Smirnoff offers us a “smart choice for your super party”.  Newman’s Own wants you to “go natural for the big game”. Tums will let us “enjoy the game heartburn free” while Pop-Secret popcorn promises a “home field advantage” and Hersheys wants us to “treat your home team” to a “candy bowl blitz”.  Marie’s salad dressings invite you to “tackle the taste” and Dean’s Cool & Creamy exhorts you to “bring the ultimate dip to the ultimate game.”  You can also “score one for the home team” with Ling Ling egg rolls, say “it’s good!” [umpire with upstretched hands holding up two hamburgers] for White Castle or enjoy “football food… ready for game time in minutes” from El Monterey Taquitos.

It’s clear that the marketers are doing an end run around the NFL by not mentioning the Super Bowl by name, and that the NFL has dropped the ball by not figuring out a way to bring them into its licensed marketing huddle. But more important, there’s a flagrant violation by most of these marketers because they forget that coming up with a catch-phrase is not the same as selling a product.

And so the winner, in overtime, is an ad from Butterball cold cuts with the theme “One taste brings the party together”.  Because after all, the reason these marketers are trying to tie in their products to the Super Bowl is that you’re going to serve them at a party—and here’s one marketer with a generic ad (originally created around the election, maybe?) that says how their product is going to make your event a success. Touchdown!

The first time I taught my copywriting course for the DMA, I called it “Direct Response Copywriting”. After the initial semester I realized I should be practicing what I preach and I retitled it “Copywriting That Gets Results”—a description that, like all good direct response copywriting, contains a benefit for the reader.

RESULTS can be measured in orders, sales dollars, leads generated etc. But they can also be measured in success in landing a job or convincing an audience of your political views, among many other potential examples. And one of the best reasons to develop the skill of “copywriting that gets results” is that it helps you become more successful anytime you want to use words to convince someone.

Robert Collier put it this way in his 1930’s classic Letter Book: “Little Willy wants an extra slice of bread and jam; sister wants 15 cents for the movies; Dad is scheming how to get out of the house for lodge that night, and Mother is planning to have Dad sweep out the cellar–while around the corner the Preacher is planning a visit on the household to make it more church conscious and one and all, have their own pet ‘TESTED SELLING SENTENCES’ they plan to use on one another!”

This is the first of a series of posts in which I’ll reprise the DMA copywriting class which I’ve taught for several years in the bay area, most recently at UC Extension. Please check back often, or just subscribe to the RSS feed.

A good friend and colleague died this past winter. I quickly learned about a tribute website, and posted a message which expressed my feelings in the passion of the moment. Having achieved some satisfactory personal closure I never got around to contacting his widow, who is also a good friend and colleague.

That faux pas clearly deserves a bitch-slap from Miss Manners and I needed to atone for it. Thus, when the widow wrote a broadcast email with the news that she was moving to a small town where she would be mainly taking care of her aging parents, I responded with some personal news about my family and expressed a wish to keep in touch. I never heard back.

Some possibilities are: a/the lady’s mad at me, as well she should be. But what if b/in her new life she rarely checks email; or, c/my message got caught in her spam filter. How can I know and what do I do about it, if anything? Such are the new challenges of communication in the electronic age, as we attempt to communicate through media that are still being defined.

In my copywriting classes, I always do an informal survey of email habits. Some findings:

1. Email has gotten much more formal over the past decade as it’s become a primary mode of correspondence. Misspellings, for example, are no longer OK. (Save them for IM.)

2. The majority of female senders say they start their message with a salutation (Dear so-and-so) even though it’s superfluous. Most male senders don’t use a salutation.

3. Most people “sign” their emails with their personal name, even though it’s unnecessary because you can be identified both by the “from” line and from the boilerplate signature if you use one. A best practice seems to be to sign off with your first name just above the standard signature, as a way to personalize the email.

4. There’s a trend toward composing email in HTML even though there’s no need for it because no graphics are involved. I like words to stand on their own, so this one really makes me grind my teeth.