Doorknob or handle: which would you choose?

The picture at left shows the inside of the men’s room door in the building where I used to rent a studio, in San Francisco. The knob is the way you get out of the room; the much more prominent grab bar is a useless appendage. During the 18 months I rented this space I used the bathroom certainly 100+ times… and at least 50 of those times I grabbed the bar because my sense memories “knew” that was the right thing to do.

People expect things to work a certain way. And this can have important implications when you’re marketing to them. Ads that play against expectations, especially in web video and TV, can surprise and delight and get through to a dulled viewer. But direct marketing pitches that veer in an unexpected direction—introducing a surprise element in the middle of a sales letter, for example—can turn off a reader and cause them to pitch your message in the recycling bin.

The difference with these scenarios: in the first, the prospect is on the outside, tacitly agreeing to let you try to entice them into your world. In the second, you’ve already created agreement and now you’re violating the contract. That’s why so many paragraphs in classic direct mail letters begin “that’s why”—to let the reader know you’ve established your point and are transitioning to another. And why many direct marketing pitches (including web pages and email, as well as print) will include what my clients at Rodale used to call “head nodders”—statements you know your audience will agree with, used to establish that you are on the same page and your message is reasonable and relevant.

It’s OK to be unpredictable… just as long as you know when to use and not use this strategy. If you’re doing intrusive advertising—which would include most examples of direct marketing—then it’s best to stay within expectations and avoid surprising your prospect except with the wonderful news of your offer and its benefits.

This is one of a series of excerpts from my DMA class, “Copywriting that Gets Results”.  Visit the Copywriting 101 category to see them all.

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.

Is this the most effective possible outer envelope teaser?

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.

letter and other elements of Olivet package

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.

"If you died" web banner

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.

Meme marketing with netflix

Opening the Netflix envelope is a meme—a cultural experience that can be readily understood and transferred from one individual to another. And it can be useful to marketers because when you understand a meme, you can piggyback on it to present your own message in a way that echoes that meme.

I paid close attention to how you deal with that end seal and the slight confusion (for that first-timer) of opening the flap in a way that would not destroy the postage paid envelope used to send the DVD back. I lingered on the tear-off sheet I was discarding, wanting to make sure I did not throw away something that might be either an order confirmation or a savings coupon.

So here’s an idea. What would happen if you sent out a direct mailing in a similar format to the Netflix envelope, maybe selling a magazine subscription? You wouldn’t want to fake the look of the Netflix… you’d get sued, plus recipients would be angry at the bait and switch. Rather, you’d echo key components of the experience—like the feeling of peeling back the flap.

You might get a positive subliminal reaction… the reader sniffing something good in the offering… that would translate to a better opening rate for your mailing and a more careful reading. If you did it right, people wouldn’t notice at all you were emulating Netflix. That’s good meme marketing.

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.

Winning a “control” is a holy grail for direct mail copywriters (this old-school term has not morphed to the web and email as far as I know). The control is the standard mailing that others are tested against; it’s the one that has consistently performed best over time. Win a few controls and you can start raising your hourly or project rate.

But here’s the problem. Apart from publishers who mail millions, clients can be a bit flakey about “awarding” the control. One client in financial services told me a package could not become the control unless it beat the old control by 20%. That’s a huge edge in a regulated industry. But he was limited by his tight operating budget: a 15% lift in response might produce profits, but changing over all the forms at the printer and tracking cost money and he had to draw the line somewhere.

This month I’ve “won” two controls win a way that shows how quirky this process is. The first was a #10 envelope package for a Long Term Care insurance company that beat the old control by 100%. But what I did was to take the existing control, a self mailer that was also written by me, and change the copy slightly and put it in an envelope for better stage management. I’d been advising my client we should do this for years so my win is nice, but not a creative breakthrough.

The second win was for a company selling education in how to be a financial success. I’d written a package and they tested it and the results didn’t reach their threshold. A year later they discovered 10,000 unmailed copies of my package at their printer and decided to test it again. It beat everything. Voila, new control.