Posts tagged “About Writing”

Social media fatigue and really bad writing.

The sheep in wolf’s clothing.

A great deal of social media is a sheep in wolf’s clothing. There’s absolutely nothing simpler than posting an opinion or an article to a blog, or a brief message on Twitter, etc. Does that mean everything we see and read is trustworthy, reliable … even true?

One of the biggest lies is about SEO. So many folks out there are still shouting that SEO is the end-all and be-all of marketing. But you know better. You’ve been frustrated by pointless search results that bring up mash-ups of rehashed articles that ultimately say nothing of interest or importance. That’s why Google has clamped down on SEO abusers.

And that’s one reason we’re all suffering Social Media Fatigue.

Here comes the research.

The Gartner Group’s December, 2010 and January, 2011 survey of 6000+ social networking users – among the first adopters of Social Media – showed that they’re experiencing fatigue and are visiting social networking sites such as Facebook less often. Gartner’s recommendation:  “Advertising and marketing firms should re-think their stance as this survey might point to the beginning of boredom as a result of the ‘social media fatigue.’”

They said “people are bored,” but they didn’t say “why.” I can tell them. It’s not just about being overwhelmed by too many sites and options multiple times per day; it’s because of the truly dreadful writing you find on so many of the sites. If there actually was good content, would we be so bored? So fatigued?

Professional writers constantly see pleas for help writing “content.” That’s because so many businesses have launched Web sites and Web-based businesses without really thinking through content. So when we get there, we find little of value, and simply click away.

These dolts believe that all they need is “words” to hold people’s interest … any words. So they’re paying SEO and “content writers” to provide said words.

However, most of these so-called writers couldn’t create compelling match-book covers. Bad content is bad content. People will always click away.

Welcome to the Wild West.

The World Wide Web is the Wild West of today. Seemingly, anything goes. It’s cheap, it’s easy, and more and more software comes out every day that does most of it for you … except for creating compelling content.

Think of it this way: you’ve decided to launch a new magazine. It’s going to be a doozy. It will top all other magazines that have come before. So, how will you do that? Could you possibly, just maybe need some really good writing to fill those stellar pages? Are there that many great writers out there with articles at their fingertips to enthrall the throngs waiting for your whopper publication? Sadly, no. (You knew that, of course.)

Listen up people: no content, no audience.

Web sites that are like this fictional magazine are desperate for stuff to fill their pages. Unfortunately, there’s no shortage of truly bad writers offering wholly unoriginal, uninspiring content. Once again, we get there, take a quick look around … and click away.

That’s why contemporary marketing departments are stuck between a rock and a mouse click. They feel they have to have a “social media component.” But they’re never entirely sure it’s working. Maybe that’s because it’s not. If it was, you’d know. If we found something tremendously interesting, we’d spread the word in a nanosecond.

The wedding dress story.

Some years ago, a fellow who seemed in every way a down-home, even red-neck kind of guy put his ex-wife’s wedding dress up for sale on eBay. The writing was down-to-earth, straightforward and hilarious. For example he wrote, “I’ve been told that you have to have someone model clothing. Since I don’t have anyone to do that, I’m just putting on the dress myself.” Yes, he had photos of his burly self in a wedding dress. The reaction was likely the textbook definition of “going viral.” It had more hits in less time than anything ever before on eBay. He even got multiple marriage proposals. And the dress sold for a very high figure.

So “social media” can work, if the content is compelling, interesting or relevant. But that’s rare these days. Most of it isn’t any of those things. And that’s why we’re just plain bored with it.

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Communication: Practical Magic

The title of this article is from Abe WalkingBear Sanchez, who posted this on LinkedIn: “Words are magic. The very idea that by making sounds we can paint pictures in the minds of others, is magic. We choose whether we practice white or black magic.” – Jack Brightnose, Cree Medicineman.

That post really made me sit up and take notice. A writer’s life is all about communication, yet how often is it about the magic? WalkingBear’s teacher knew a great deal more about what was to become my life’s occupation than I did. I’m sure I had some teachers along the way who understood what Jack Brightnose taught. But what I remember most was their individual preferences for certain authors and certain kinds of phrasing. Not the reverence for the pure power of words shown by Jack Brightnose.

The dark side is always there.

Everything we do in marketing is about communication. But everything we do often becomes so habitual that we forget about the magic of words. In the world of marketing, the ultimate objective of communication is to influence, and perhaps sell something. In many cases, such as tobacco, liquor, fashion and pharmaceuticals, that’s leaning toward black magic – designed for profit, not for the good of the public. And I’m not making judgments about tobacco, liquor, fashion and pharmaceuticals – I’m talking about how they’re sold, how the words and images are used.

This is the dark side – the black magic – from which we professionals avert our eyes when asked to write copy for things that we might never ourselves purchase, or allow anyone in our family to use. It’s always there, in the background. And it’s hard to avoid when you enter the world of business. After all, that’s why agencies are hired, to help sell stuff. And as soon as anyone is trying to sell us something, motives become questionable.

Clearly free will was taught by Native Americans. Our choices define us. If we choose to profit by using words to convince people to buy our stuff, stuff we know can harm people, we have chosen black magic. But somehow that has been completely forgotten. The idea of profit as justification has wedged itself between white and black magic like some form of religious indulgence. In modern society, the profit motive excuses the intentional use of black magic.

Communication makes us human… sometimes.

What struck me when I read what Jack Brightnose had taught WalkingBear was how little respect is left for the magic that is communication. It’s virtually the only thing that sets us apart from the world of beasts. Sure, we have clothing and automobiles and iWhatevers, but would we have any of those things without the ability to form and understand words? Clearly not. We’d still be among the beasts, with bodies covered in hair, as we foraged and hunted for food and shelter.

Words lifted us out of that prehistoric life. Words gave us the lives we have today. It’s a little disheartening, though, to think that in only a few thousand years we went from “In the beginning was the word …” to sitcoms. No doubt that particular road to hell was paved with a loss of respect for the magical power of words. Instead, the shine of silver and gold became the lure, and the use of words to get the booty became the meaning of the words, not the magic inherent in communication.

So choices had to be made and we made them. Landing and keeping jobs became the new hunting and gathering. And we’re often asked to make tough choices as a result. The words used to force us into those choices are definitely not white magic. If only it were easier simply to walk away.

Can’t forget why we communicate.

Am I undergoing some sort of religious awakening? Nah. I’ve simply been reawakened to why I first fell in love with words when I was a boy. WalkingBear’s post reminded me of that. I’m sure the magic was what attracted anyone who chose to live as a writer. But being reminded that there’s always a choice between white and black magic is the real awakening.

In an almost indefinable way, I think that Jon Stewart’s Daily Show gets its mojo from calling people on their misuse of communication. He calls out liars and connivers and deceivers. He pulls back the curtain to reveal that The Great Oz is in fact a fake. And we all instantly recognize the truth of the revelations. We laugh, but recognize that what we laugh at is tragic. His show reminds us that we’ve learned to ignore the deceptions, because they’ve become standard operating procedure. We don’t pay attention, until our attention is drawn to the deceptions.

The Internet has both exponentially increased communication and brought it down in ways we could never have imagined. Not long after the explosion of the Web onto our psyches, it became obvious that sites (early on given the ludicrous euphemism “portals”) were only of value if they provided relevant information. Content (could there be a more demeaning term for writing and communication?) became critical. Site owners became desperate. So “content writers” were born, largely manipulators of existing content into mash-ups. Most of them are rank amateurs, often linguistically challenged, who are apparently happy to make a few dollars per day.

Here’s another fascinating quote that goes beyond marketing: “All poetry begins as self-expression. But if I only write for myself, who’s going to want to read what I’ve written except me? I tell my students that, at some point, writing stops being self-expression and starts being communication, or it fails. Whether you read me or not, I’m writing for you.” – David Kirby [Kirby’s “Thirteen Things I Hate About Poetry,” in Lit from Within: Contemporary Masters on the Art & Craft of Writing].

That was from a post by Erika Dreifus who has a blog and newsletter titled “Practicing Writing.” And it’s about the other side of what Jack Brightnose taught: in order for words to be magical, we have to remember that we’re not using them for ourselves alone – we’re using them to communicate, to paint pictures in the minds of others.


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What does it take to be a copywriter?

Can the answer be in a book?

There was a rather interesting question posed on a LinkedIn group:  ”What ‘must-have’ copywriting book do you recommend?”

That seemed to imply that reading a book on copywriting could allow anyone so inclined to become one. Nothing could be more misleading. Of course, if the question was meant to learn how to become a better copywriter, then it’s slightly more possible. But it’s still the same answer: copywriting is a craft, like any other, which will only improve with continual, ceaseless practice and experience.

You really have to want it.

I’ve never known anyone who woke up one day and decided they had to be a copywriter. To want that, you’d have to desperately want to earn your living crafting finite messages in an enormously competitive field. You’d have to want to perfect the use of language, metaphor, euphemism, vernacular – all of it –  so that what you write might not only stop readers, viewers, listeners and visitors, but might also convince them to focus on your message. You’d also simultaneously have to be far subtler than the morning news.

Screaming headlines do not make any of us more interested in marketing messages. To be universally appealing, copy must be clever, enticing and compelling. And if you’re targeting a very specific audience, you also have to be unerringly relevant.

So before you count on a book to guide you into this parallel universe to diamond cutting, you damn well better have some relevant life experience – as a reader and writer – before jumping into these shark-infested waters.

Further, no book on “copywriting” will get you a job. Only your samples will. And you’ve got to have the chops to get there.

Catch 22, again.

With a nod to Joseph Heller, copywriting is one of those professions in which you can’t get a job until you’ve had one. No, that wasn’t a typo. You have to have extraordinarily impressive samples of the craft to even be considered for a job. The wormhole we’ve all found is to create a portfolio of spec samples until we have actual, produced ads to show.

To pass on the very sage advice I was given when I was starting out: “only do samples of things you really love so that that will come through in the writing, and get a young art director to help you so that you both have samples to show.”

I took that advice to heart and created a pre-job campaign for my favorite Indian restaurant. If they ever did much advertising, they certainly would never have done the full-page, four-color ads I created for them.  But they were great ads, in all humility, because they were fun. The first headline in the campaign was “There’s no such thing as curry powder in India.” Which is true, and educational. I had fun doing the sample ads, and people had fun reading them.

It took several months of working on my spec book along with willing art directors to get to the point when I actually landed my first ad agency job, on “Madison Ave.” In advertising, you’re only as good as your last campaign. That’s why everyone’s portfolio is worth its weight in Au (http://bit.ly/lM7nWn). So like many others I knew, I had duplicate portfolios in case one was lost. Why would a portfolio be lost? Because advertising headhunters were forever shuttling them around to various agencies looking for copywriters and art directors.

And that’s another fact of life about advertising: to grow your portfolio, you often have to keep changing jobs. (My first assignments were on Seagram’s 7-Crown and Crown Royal, and Schaefer beer. All booze, all the time. I needed a change after a year of that.)

The book I recommended.

So was there a single book that everyone agreed on? Ha. Every single answer was different. And each showed the author’s background, preferences and proclivities. Nearly all advertising books are either memoirs, which don’t help neophytes get past square one, or self-advertisements, which are equally unhelpful.

That’s why my recommendation was: “Get yourself a copy of Strunk & White’s The Elements of Style.”

No book can ever guide one into how to write – the most any book can do is describe what it”s like to write. You really have to work and work and work. You have to find your voice, play with tone and style, and ultimately just keep doing it. Inevitably, as you do, questions of grammar and style will come up. The NY Times Manual of Style and Usage is great, along with the Chicago Manual of Style and the AP Stylebook. But for something small, handy and wholly reliable, I most often turn to the The Elements of Style.


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The (critical) role of storytelling in marketing.

One of my jobs is teaching effective story-telling to businesses.

Stand in my shoes for a few minutes and here’s what you’d see when a copywriter meets with new clients for the first time. We’re warmly greeted, offered coffee or water, then told in great detail about the product or service this new client wants to market. They’re truly excited about their offering and believe all we have to do is tell the world it exists and sales will tumble like the falls at Niagara.

But frequently they’ve missed a critical step: placing themselves in the minds of their target audience.

The effective use of narrative means, most of all, knowing (a) who your audience is and (b) knowing what they want to hear. This is a tough hurdle for many clients. This is the moment when they’re faced with a hard fact: we are not running ads for them. In fact, anyone who does an ad strictly based on pleasing the client is wasting the client’s money. (Dear Client, you run ads for your target audience, not for yourself.)

For example, a headline that pleases your client may bore the pants off your true target audience. Just because they think ‘thermal wrapping cloth’ is better than a moon landing doesn’t mean the people who actually need it will be as excited by it. You have to find out why it will interest them.

So here’s where the science and methodology of copywriting comes in. You have to understand both who will be most interested in what you’re writing about, and why. You have to become familiar with the specific marketplace and understand what the competition is saying and selling. You have to do a lot of homework before you even start writing.

If you are selling a product or service that’s custom-made for college-educated women between the ages of 24 and 54, you have to know what they read, what they watch, what they listen to, and – most of all – what matters to them. By understanding the kinds of books, magazines, newspapers and broadcast media they care about, you can target both your media buys and your messaging to grab their attention. And that is ultimately the objective of all marketing.

Think about it this way:  you know you won’t get the same audiences reading Car & Driver and Vogue. Use the right medium to reach the right audience with the right story.

Crafting the story: the real work in writing.

Many professional copywriters have had the experience of telling someone what we do only to have that person say, “oh, you write jingles?”

No, we don’t write jingles. (The days of jingles are long gone.) We craft stories. We make new cars sound impossibly enticing. We help you believe that new watch is something you can’t live without. We convince you that this new beverage will change your life. Etc. Are we lying? No, we’re doing our jobs through the effective use of narrative to promote products and services for our clients to the most appropriate target audience.

For narrative in marketing to be truly effective, it can seldom be just about the product or service. It must also be about a very specific target audience. E.g., if we happen to be writing about a high-end Mercedes-Benz, we have to understand the mindset of the people who could afford one and might want one. We have to know something of what their lives are like. And we have to do the very same thing for everything we write about. We have to understand the specific demographic for each specific product or service.

Take high-tech. The typical audience for high-tech products, such as computer networks and data centers, are people who are highly knowledgeable about their industry and profession. So you aren’t going to win points writing for them as if you’re describing a vacation in the Bahamas. Telling them their life will be “a walk on the beach” with this super-duper new wireless router will sound, to them, like someone’s trying to sell them the Brooklyn bridge.

Believability is key to effective narrative. And to be believable, you have to be knowledgeable about both your product and its true target audience. In the case of the high-tech example, the story you tell has to sound like a day in the life of an IT manager, or CTO. And that’s never a walk on the beach.

Everything is part of the narrative.

Every part of every marketing effort – down to the way ads, marketing materials and Web sites are designed – should be there to support the narrative. And a key part of that narrative should be a call to action. It can be a soft sell or a hard sell, but it ought to be included as part of the story.

I’ve had the unfortunate experience of being paired with designers who thought that how something looks is far more important than the lowly message. Fortunately, I’ve also had the experience of working with true professionals who understand that everything we do is about communication. We’re telling a story in words and pictures.

A key aspect of any design is where your eye is led. Really good designers understand that. They know that when you open a magazine to your client’s ad your eye should be led through it to the ultimate objective, whether that’s branding or a bold call to action. And when you open your client’s Web site it should be easy to follow how its constructed and how to get where you most want to get within that site.

When the opposite is true, when an ad or Web page is a jumbled mess of graphics that simply confuse the eye, the narrative falls apart. There is no story when there’s merely confusion. Lots of “off the shelf” Web sites create an impression of cohesiveness, but that will quickly dissipate if you’re left scratching your head, wondering, “what exactly are they trying to say here?”

The narrative must grab a viewer or visitor, it must pull you through, and it must leave you with a better understanding of the product or service as a result. That’s the job of story-telling in marketing. Now that you know, you’ll start to see when it works … and when it doesn’t. And you, too, will know the importance of story-telling in marketing.

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Quitting Writing; Becoming a Quilter.

I am finally following my heart. I’ve always been a writer and will no doubt always think of myself as one, but I’ve had it with bad clients who want an entire Web site created for $400, or a month-long radio campaign for $200 … both including my services.

When did I first know I wanted to be a quilter?  It hit me hard during one of those Antiques Roadshows when they were lovingly displaying an early American treasure, a quilt that virtually defined the category. My heart raced, my pulse quickened and I almost leapt up from the couch shouting “I need to do that!” But I silently realized how much I wanted to, and that I was going to. I promised myself.

I joined a local group, Querque Quilters, and was soon learning why I was so motivated, why I loved quilting so much. I had found my true calling: reproducing early American quilts.

This of course means that the quilts I produce for sale are not very large. After all, our founding fathers slept in beds roughly the size of today’s double beds. No queens. No kings. You’ll simply have to adjust. Or hang them on walls as they are meant to be rather than becoming party to the funkiness of bed clothes. These are my treasures, after all, my gift to our time.

It would be nice if there were other men in the quilting group. One guy, an ex-Marine, joined us for a while, but only ever grunted in reply to questions such as, “would you like another petit four, Butch?” “Is your tea o.k., Butch?” He never joined in the chatter that’s so much a part of quilt-making. In fact, it seemed to make him more nervous and irritable if the ladies paid too much attention to him. Anyway, he stopped coming and I’m the only man again. But I will continue. Because it’s what I really, really want to do.

Why did I choose today to make this announcement? It was my parents’ anniversary. They had their civil ceremony on this day. In Europe it was the custom to have two ceremonies: the civil one and the religious one. So it happened to be on this day that my parents went to town hall in Brussels to officially marry. Then they had the religious ceremony, the one that mattered most to them, at the Church of Gaia.

I plan to create a quilt in memory of my parents, celebrating the goddesses of Gaia they adored so much.

I will shortly post photos of quilts and a link to my PayPal account. Please keep an eye out.

Thank you all who have supported me in my writing career. I hope you will be equally supportive of my new craft, the one that has shown me my true reason for living. Writing may warm the heart, but quilts warm a household.

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Content Mills: Bad for Writers … Bad for Clients.

Is content still king?

Ever since the earliest days of the Internet, there has been one great need above all other needs: content.

Without good, relevant content, there’s no value to a web site or portal. Ignoring this truism, some enterprising sorts decided that aggregating and automating content would be a good business idea. Is it? Forbes doesn’t think so: Congratulations Demand Media. You’re still pretty dumb

There are so many things wrong with content mills that one could go on forever. One of the worst things is how inane the content turns out. Why? The mills want generic articles that can be blasted into almost any venue as soon as one enters search terms. The result is stuff nobody really wants to read.

An equally bad thing is their pay scales. Demand Media pays an average of $15 for 500-1,000 word articles. Think about that for a moment. The lowest rates paid to writers for articles are in the range of 50 cents per word (where it has been for about a century). For a 1,000-word article, that’s $500 … a long way from $15.

The better markets pay $1-2 per word. So you can see where things are headed if the content mills have their way. You can also see why the typical content mill writer would want to grind out content rather than craft their copy. If you’re only making pennies, why kill yourself?

What does this mean for clients? Content mills are training clients to expect to pay far less than typical. But clients don’t really want lesser quality, do they? Trouble is, you can’t have it both ways.

Here’s an independent writer’s take on it: Demand Studios’ IPO reveals more reasons writers should be wary

Seasoned pros won’t touch the content mills.

Since 1988, I’ve largely earned my living as an independent advertising and marketing writer. The contemporary combination of globalization, the Internet and a flattened economy has created a plethora of content mills/farms that pay writers far less than minimum wage.

Demand Media is only one of many content mills. Examiner.com is even worse, recruiting “writers” (non-vetted, non-edited) and then making them work to publicize their offerings (and annoy everyone) because they pay by the click vs. by the word or article.

These mills are paying writers pennies on the dollar, if that much. It’s a brilliant business plan that depends entirely on the submissiveness and low self-esteem of writers.

Let me say that again: it’s a brilliant business plan that depends entirely on the submissiveness and low self-esteem of writers. And it cuts writers out of the markets they’ve been writing for long before the mills showed up.

Wake up, writers.

Writers need to wake up and realize some things about the critical need for their particular skill. Industry cannot grow without communication. Business cannot grow without communication. Capitalism cannot function without communication. Ultimately, communication (via marketing, advertising and p.r.) drives capitalism. How can there be competition without communication that makes the target audience aware of choices?

So, can we really afford to have communication dumbed down any further than it already is? The word on “the street” is that Google has become weary (and wary) of the mills that use “optimization” tools to place their articles at the top of search results.

Clients should be just as wary. Do you really want “mash-ups” rather than original, professionally written, carefully crafted articles? I didn’t think so. Think carefully about SEO before you jump on that bandwagon. As I’ve mentioned before, one of the gurus of SEO said that it has turned into “content written for machines rather than for people.” If you want people to respond to your calls to action, you need to write for people, not for search results.

The mills promote a culture of minimal thinking, minimal work and total plagiarizing. They virtually force their minions to work as quickly as possible in order to get out as many articles as possible so that they might actually survive. The concept of quality isn’t even part of the mix. Who needs it?

Remember:

No writer, no newspaper.
No writer, no magazine.
No writer, no web content.
No writer, no owner’s manual.
No writer, no package copy.
No writer, no cereal box copy.
No writer, no program guides.
No writer, no museum guides.
No writer, no dictionary.
No writer, no ad copy.
No writer, no radio copy.
No writer, no catalog copy.
No writer, no business.
No writer, no sales.
No writer, no company.
No writer, no book.
No writer, no poetry.
No writer, no songs.
No writer, no laws.
No writer, no play.
No writer, no movie script.
No writer, no TV script.

(You get the idea …)

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Writers: the engines that drive growth.

The message matters most.

Can we exist without communication? I think not. Can we prosper without communication? I’m sure not. Who produces the communications that help us prosper? You guessed it, writers.

No matter what the product or service, no matter where in the world, in order for commerce to take place, there must be communication. Communication is the keystone of commerce. From the days of merchants rolling carts through villages, shouting their wares, to the half-time commercials during Super Bowl games, communication is key to making the sale.

Everyone knows that. No one gives it a second thought. But where would companies be without written communication? Where would the global economy be without written communication?

Our entire economy – indeed the economy of the majority of the world – is based upon competition. The message is frequently “why our product is better,” “how our product improves things,” “why you’ll be happier with our product.”

On this first morning of this new year, I sing the praises of the creators of the messages that make the world go ’round.

The writers craft the message.

Could Coke be Coke without the commercials and ads that proclaim its unique benefits? Could Mac be the rising star in the computing world without the commercials and ads that inform us why we should choose their offering over a PC?

Would we even be seeing and hearing those commercials and ads without TV, radio and print media? And would we even have those forms of “information and entertainment” without the writers who create the content?

When the Web was born, its progenitors announced, “content is king.” And you know who creates content …

You could justifiably ask, is there too much of everything these days … too many messages, too many puerile shows, too much competition for our eyes and ears? Yes, indeed, but again I say that thanks to writers we have the choice of what to watch, what to listen to … and what to buy. Communication informs us of our choices.

We vote with our choices, and in doing so we guide what the future brings us. If there are way too many ‘reality TV’ shows, it’s our own fault. We’ve chosen to watch them and reward their advertisers. What we have in the way of choices reflects the choices that have already been made.

It all starts with communication.

I worked on the introduction of the Sony Mavica – one of the very first commercially available digital cameras. It cost between $5,000 and $10,000, and when I asked my Sony clients, “who will be the target audience for this amazing device,” they answered, “probably just the national news media.” They had no idea what they’d helped spawn. Digital photography had been introduced to the masses. Sony also brought about digital music, as well as CDs as a medium, and look where that’s gone.

Sony knew, as every major manufacturer knows, that inventing something – however spectacular – is hardly enough. You have to get the word out. And who does that? Yep, the writers. We ask the key questions and put down the key answers so that the most appropriate target audience will get the most relevant message.

Marketing is about communication, not sales.

Sales comes after the message. First you have to inform, then you can seek the sale. But forget the sale if the message isn’t clear and compelling. That’s what we do. We’re the writers. We craft the message, and we do our damnedest to make it clear and compelling. We form the communication. We get the word out.

Without writers, companies wouldn’t be known, their products wouldn’t be known and their futures would be uncertain. The better the writer, the better the result.

It all starts with the message, the communication. Everything follows from there. Everything. And that, folks, is what it means to be a marketing writer.

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November 22, 2010

I was in my first year of junior high when John Fitzgerald Kennedy was assassinated on this date in 1963. It was a consciousness-raising event that may have set me on the course to being a writer.

I was in the English classroom of the toughest, scariest teacher I’ve ever had, Mr. Doucette (a French irony), when he answered the phone that never rang. It was on the wall by the door of every classroom for emergencies.  With all of us watching him intently, he seemed to shrivel a bit, said “oh my god,” and then only grunted answers toward the wall he was now facing.  When he hung up the phone, he turned toward us, but avoided looking at us. We knew he was extremely upset; it was rare for Mr. Doucette to be at a loss for words. In a much quieter voice than he’d ever used, he finally said, “there’s going to be an announcement over the P.A. system from the principal. It will be fairly upsetting. I want you all to try to stay calm.  After the announcement, you will be sent home to be with your families.”

The principal gave us the bad news in the briefest possible way. Several girls screamed. Some started crying. Most of us boys were more silent than we’d ever been. This made no sense. This was America. Things like this did not happen here.

As it turned out, since both my parents worked, I was home alone, watching the black & white TV picture and listening to Walter Cronkite who choked back tears as he told us that JFK was dead. Whatever mattered in my world suddenly became far less important. The first president of whom I’d had any awareness was gone. Suddenly and shockingly.

The need to make sense of things is one of the key reasons writers become writers. It’s the reason I became a writer. What we learn in marketing is that people’s emotions frequently play a bigger role in decision-making than facts. That’s why what we write is the exact opposite of scientific treatises. We are seeking to connect with the emotions that lead people to want something, to become curious about something, to feel the need to know more about something.

What I have wanted badly, since 1963, is to know who killed JFK. A NY Times piece that came out today, written by Jackie Kennedy’s Secret Service guardian (Clint Hill), raised all the questions all over again. Mr. Hill wrote that he heard the first shot and saw the president grab his neck. He was immediately so intent on running toward the president’s car that he didn’t hear the second shot, and then he “was just feet away when I heard and felt the effects of a third shot.” A lone gunman? I don’t think so. All three shots hit the president. And that supposed one gunman killed two days later by a terminally ill mob hitman shortly after being arrested? No, Lee Harvey Oswald did not act alone, if he acted at all in the murder of JFK.

This has been the most burning question throughout my lifetime, with little hope of knowing the answer since the facts of the case supposedly must remain sealed until 50 years after the last remaining Kennedy child is gone. No president or public figure who came after JFK has been as electrifying, as unifying and as filled with purpose. He may have been the last one who put objective good ahead of personal beliefs and preferences. He could have put our nation on the path toward global participation instead of isolationism. He could have made a mark in history far greater than he was allowed.

Soon he will be merely another part of history rather than a signpost in the lives of people who were around when John F. Kennedy was murdered. Soon he will be like Abraham Lincoln – a president who was assassinated before he could accomplish all that he was meant to during his days on earth.

A few years later, we lost Martin Luther King and then Robert F. Kennedy. Yes, the 60s were a crazy, crazy time.

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The value of a very good writer.

When a good advertising idea appears, it goes on and on. Example: those brilliant MasterCard commercials that ended with “priceless.” They’ve been copied so often that it’s impossible to keep track. But that just proves how good the idea was.

The “got milk?” campaign was equally brilliant, and even more frequently copied. But how poorly great campaigns were imitated proves why it takes a very good writer to turn a good idea into a great idea.

Locally, some real estate outfit has put up “got space” signs all over the place, complete with black background and the same font as the “got milk?” campaign. Except, he/she/they never understood the meaning and importance of the original “got milk?” campaign since he/she/they left off the question mark … or any punctuation. That little bit of punctuation makes all the difference. (Writers know that.)

Example: does the “got space” rip-off mean this advertiser a) has space available? b) wants to know if you do? c) only has space where the sign appears? So much unknown … because of such a little thing: punctuation. Even a period would convey clarity and help make the sign more meaningful.

Much of what it means to be a very good writer is understanding the importance of choices and what those choices will mean to anyone who views the communication you produce.

Example: knowing when you’ve got something original, distinctive and memorable; knowing how to talk about it so that it will attract the right target audience and produce the desired effect.

The “got space” signs are a nod to greatness, but ultimately a pointless waste of “space” – both on the landscape and in any viewer’s mind. And also proof that this particular advertiser never really understood the original “got milk?” campaign. Such imitations abound and are painful to see because of the lack of clarity. They’re not just wasted opportunities; they’re wasted dollars.

Clarity in communication is vital, critical and necessary. Without it, who really knows why you’re saying what you’re saying, or to whom?

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The secret to good P.R.

It’s not promotional.

Public Relations is a clear, precise, methodical communication function that innumerable people mistakenly equate with promotion. When they do, their “releases” are doomed for the circular file.  No editor will consider anything as a valid press release if it contains hyperbole or promotional language. And attracting the attention of editors is the ultimate objective of any true press release – in print, broadcast and online media.

If that’s not your objective – if you’re actually simply trying to put out some sort of announcement – you might want to rethink your communication piece, and you will definitely not want to call it a “press release.”  Because that means very specific things to very specific people.

Just the facts, ma’am.

The secret to good P.R. is relatively simple: a true press release is always written in third-person, journalistic style and is wholly objective. Its first paragraph always contains the “who, what, where, when, why and how.”  Promotional copy is the exact opposite – it’s entirely subjective, full of adjectives and frequent use of such phrases as “we’re thrilled” or “we’re very excited.”  Those are the kiss of death.

While the formula is simple, it can be challenging to execute unless you’ve been taught how.

How, then, do all those articles from your competitors end up in all those editorial pages?  Why do the publications seem to feature story after story about some company that’s not so different from yours? The  answer – as you surely suspect – is that they have knowledgeable, experienced public relations pros working for them.

What the pros know.

P.R. pros not only know how to write a release that will get an editor’s attention, they also know that relationships with those editors are key to getting both good coverage and … interviews. Yes, the holy grail of every sales effort – the interview. (Kind of like free advertising and an endorsement all in one, isn’t it?)

P.R. pros have lots of media experience and know how to select the pubs that best match their clients’ category; how to sell a story to those pubs, who to promote it to and how to work editorial calendars to your advantage.

Those P.R. pros also know how to successfully set up media interviews and tours, and how to help make trade shows successful.

Good P.R. is more than P.R.

Good P.R. means creating the right editorial climate for clients’ businesses, products and services by influencing the target audience through appropriate media. That can mean a great many more things than just the releases. Things such as:

  • Background materials/press kits
  • Editorial round-tables
  • Media relations
  • Executive speeches
  • Feature articles
  • Case-history testimonials
  • Trade-show support
  • … and News releases

Truly, the biggest problem with press releases is that so few people understand what they are, or what they’re supposed to be. I’ve frequently been provided “press releases” as input for writing projects and have just as frequently been horrified to see entirely promotional copy vs. true releases. Along with a dearth of facts (who, what, where, when, why and how). Too many people just don’t know. But editors do.

What P.R. is not.

Press releases are not ads, they’re not fliers, they’re not trade show hand-outs, and they’re most definitely not akin to wedding announcements. If you actually want something to be a press release, then it’s got to be in classical, third-person, objective reporting style. Period.

Why? So that an editor might drop it in to a publication, as is (the real secret), or use the first paragraph, as is. (The who, what, where, when, why and how of the story.) Send editors promotional garbage and it will go where other garbage goes.

P.R. has far less to do with what corporations want to achieve or say than what news outlets will accept. That’s why a true, classical press release is indistinguishable from an AP or New York Times news story. No hyperbole, no exaggeration. Ever.

Naturally, companies are welcome to put out whatever they want, even dinner napkins. But if they plan to drop something “on the wires” or send it directly to editors, it has to be in the lingua franca of the business. Anything that isn’t is a waste of both your time and your resources.

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Separating the pros from the pretenders: craft.

“That’s not writing, that’s typing.”

With a nod to Truman Capote’s summation of Jack Kerouac, typing is not necessarily writing. Writing is ultimately the practice of a craft.

Anyone who crafts words into sentences, and sentences into the grammatically correct perfection of a thought, a story, a piece of marketing, journalism, technical documentation, etc., is someone who understands what it means to be a writer.

Ironically, while one may have to show credentials or a college degree to be hired as a writer, one can’t really go to school to learn how to write. One simply has to write, lots and lots. Schools can only teach techniques, tricks, methods of practice and examples of good writing. But, just like pottery, it’s ultimately up to the practitioner. And writing requires a very similar kind of centering to reach the inner voice that then can be transmitted.

This thing called the World Wide Web has created the impression that writers are everywhere. They are not. They are outnumbered by typists. The Web has also been steadily lowering the bar for quality of writing. And that is sad. Writing, in so many ways and in so many places, seems to have been reduced to “content.”

It also saddens me that while the world is continually being increased in population, that growing population is less and less familiar with the truly magical power that words on the page have held since the original Egyptians elevated what we do to “scribe,” and Guttenberg first set paper on a press. It was why some of us longed to be writers, and why we struggled to learn the craft.

Before there can be a movie, there has to be a story. And so it goes for every form of communication: the genesis is always writing.

The power of communication.

The author and NPR commentator Andrei Codrescu wrote:  “The real technology – behind all our other technologies – is language. It actually creates the world our consciousness lives in.”

This is an astounding summation of the power of communication. From the moment we learn language, most of us begin taking it for granted. It seems that it’s a precious few, like Codrescu, who remain in awe of the ability to communicate our thoughts, feelings, needs and wants.

This awesome power is at the heart of what we writers do for a living. People throw the word “branding” about as if it’s magic dust. Just say it and you’re suddenly creating a higher level of communication. Not so. The real magic is in the language. If the language is not effective, relevant, compelling and consistent, there is no branding. If the message does not hit home in the eyes and ears and emotions of the target audience, there is no branding.

Language is the ultimate tool.

Everything about marketing is communication, whether it’s words, images or sounds. And what is communication if not language? Even when we see a commercial without words, we’re working out in our thoughts what it means and whether it’s relevant to us  And those thoughts are the language of our consciousness.

I almost hate to admit it but brands make up a large portion of our consciousness in the western world, “the world our consciousness lives in.” It was distracting at first to watch the film Minority Report and see all of the brands flash by that were part of that particular time and consciousness. Then I figured out what was bothering me – the sub-text was, “we are what we want.”  Minority Report was, of course, written by Philip K. Dick, the brilliant, visionary sci-fi writer who also wrote Blade Runner. There were nearly identical brand images in that film as well, even though the word “branding” barely existed, if at all, in 1984.

So is it our job to make people and companies want things? I prefer to think of what we do as creating awareness of choices. That’s what capitalism is ultimately all about – the freedom for anyone to create a competitive offering, and the freedom for each of us to choose which competitive offering is right for us.

It is, of course, remarkable, that we can go from using language for reasoning to using language for offerings. But both prove our humanity. Because, in the end, nothing sets us apart from the animal kingdom more than language. Without the ability to communicate effectively, we are hardly human. And that is why language really is the ultimate tool.

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Links to sites we love.

This is an eclectic list, and it’s not all about writers and writing, although it leans that way.

(Is our true self revealed through the blogs we follow?)

Hmmm … literary agents, writers, editors, humor and cowboy boots … oh my!

(Hover your pointer over the URLs for hints.)

http://snideties.blogspot.com/

www.dimlights.com

http://dglm.blogspot.com/

http://www.eriksherman.com/WriterBiz/

http://eucalyptusway.blogspot.com/

http://jetreidliterary.blogspot.com/

http://jenniferonwriting.blogspot.com/

http://miraslist.blogspot.com/

http://pubrants.blogspot.com/

http://cba-ramblings.blogspot.com/

http://randmacivor.blogspot.com/

http://realworldmedia.blogspot.com/

http://ronnielebow.blogspot.com/

http://loriwidmer.blogspot.com/

http://accrispin.blogspot.com/

http://www.evowebdev.com/2010/09/why-bad-websites-happen-to-good-companies-not-hiring-a-writer-2

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Give clients what they want? Or what they need?

Every professional writer has been faced with the client from hell.  They’re the ones who insist that their marketing materials or Web sites must contain every last detail about their business.  Yes, even the kitchen sink.  If we do what they want, are we really giving them what they need?

Any effective and competent marketing professional knows that we’re writing for the client’s target audience, and that often it’s not about writing what the client likes.

Yes, the client loves reading about their product or service. And, yes, the client can’t comprehend how others may not find that level of detail fascinating. But, if you give in, are you doing yourself a real favor? Or are you just taking the easy way out?

You’re not writing for the client, you’re writing for their target audience.

In the long run, when materials don’t work, the client will blame the writer. If you know that what you should be doing is very different from what you’re being asked to do, it’s well worth mustering up the courage to say so. If your client understands, they’ll thank you. If he or she doesn’t, you’re better off moving on.

Clients frequently need to be educated about the fact they they are seldom the true target audience. It takes a real sense of objectivity to separate oneself from what’s written for one’s company. If you can help your clients get there, they’ll value you all the more for helping them make that leap.

Watch out for “give me something just like this.”

Creating a “me-too” product is bad enough. Creating me-too marketing will only take your work down several notches. (And you may even be helping the competition.) You’ll also find yourself apologizing for samples that remind everyone of “that something else.” Saying, “the client asked me to do that” won’t cut it.

As has been said in every creative writing class ever taught, “writing is about making choices.” Just because the client can’t understand originality and differentiation, it doesn’t mean you should lower your standards.

Making our clients’ product or service stand out from the pack is the ultimate goal of the marketing communications we create. Help your client figure out what makes their offering different or better. Find out what their target audience cares about most. And, if possible, find out what would make them switch.

Don’t wait for the second date.

Find out as soon as possible if you’re going to have creative freedom. And find out if you’ll get the input you need to execute effectively on an agreed-upon strategy. We’re not investigative reporters, even though we often have to act like them. It’s not our job to provide ourselves with input – but it’s usually our job to have to dig for it. That’s because clients don’t always know where the gold lies.

Most clients expect that it’s enough to announce to the world that XYZ Widgets are now available. We know that we have to create both awareness of and interest in XYZ. Especially if the public at large has been using ABC Widgets for years and is perfectly happy. We have to dig for really good reasons why people should care, and why they should try something new. If we do our jobs properly, then XYZ won’t be viewed as just a me-too widget, it will be viewed as an important and valuable addition to the world of widgets.

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Content mills: degrading writing quality and writers’ lives.

Have you noticed sloppy, even grossly inaccurate writing on “how-to” Web sites? Or on travel and food sites? How about oddly similar articles showing up on multiple sites? Or enticing headline links for articles that entirely disappoint when you click on them?

There’s a reason. A new animal recently emerged in the online world:  content mills. They are brokers of online content, and they’re quite uncaring about writing quality, let alone writers. And every self-respecting writer is outraged by what the mills claim as “fair pay.”  So self-respecting writers won’t work for them. And that’s why you may have become disenchanted with so much of what you see online.

What kind of writers are producing this muck?

The only writers actually writing for the mills are the desperate kind. Writing, after all, is a lonely, cerebral, isolated profession. That fact alone seems to have made us ripe pickings for this mostly Internet-based phenomenon. Some examples of mills are Associated Content, examiner.com, Demand Media, Elance, and Seed. They all follow the same business model:  pay as little as you can for words to fill up online pages.

What exactly do they pay? Demand, for example, claims to pay $5-15 for 500-1,000 word articles. Consider the fact that it takes a decent writer 2-4 hours to do a decent 500-1,000 word piece. So what do you do if you’re only making $2.50 per hour? You rush, you “borrow,” you plagiarize. Your mission in life becomes writing as many articles as you can, as fast as you can, so that you’re making slightly more than $2.50 per hour.

Hence, we have “mash-ups:” material grabbed from all over the Web and “re-purposed” for an article. Associated Content and examiner.com are even worse – they only pay writers by the click. So writers have to become promoters of their own sloppy writing to make anything.

Do mash-ups equal plagiarism? In many cases, yes. When the original author isn’t even given credit, what else can it be?

What should writers be paid per word?

The average good-quality magazine article pays $1-2 per word. So a decently written1,000-word article should pay $1,000-2,000. Not $10. But before you think of dashing off 1,000 words and looking for the $2 per-word market, you should realize that to get to 1,000 really good words for the really well-paying markets, a writer typically puts down 4-5,000 words, then works, re-works and polishes their material. And that can take 20-40 hours.

So, how can writers survive working for the mills? We can’t. And that’s my point. The mills don’t actually care about writers because quality has nothing to do with what they’re after. They only care about selling content, whatever it is. The business of the mills is to stockpile random content to sell to sites that need “stuff” on their pages. All kinds of sites and publications buy that stuff just so that you and I might be attracted to visit … and just possibly click on the ads there.

Where might you read some of this paltry-paying stuff? Demand Media lists eHow.com, LIVESTRONG.com, Cracked.com, Trails.com, Golflink.com, Answerbag, Mobile, and Impact Stories as some of their content. And here’s what Associated Content says about how they pay their “contributors:”  “You earn money for every one thousand page views your content generates (PPM™ rate). The baseline PPM™ rate is currently $1.50 – meaning if you generate 30,000 page views, you’re paid $45.00 in Performance Payments.”  That means that you only get paid if you drive the masses to click on your articles. So you’re not only paid peanuts for your work, you have to work pretty darn hard to get paid the peanuts.

What does this mean for you and me? The quality of online content is rapidly and clearly declining. But you may have noticed that.

The valuation of content over quality.

This really is a David and Goliath scenario. The mills are extremely well-funded and some of them are owned by some of the wealthiest people in the country. So even though the Web has brought a great many boons, if you’re a writer, globalization and content mills have become your foes. There is likely no stopping them. But a growing demand for quality may set them straight.

Jaron Lanier wrote about this very thing in his book, “You Are Not a Gadget.”  He sees similar ills in the rise of aggregation of data with total disregard for the human element. In other words, many of the factors driving the growth of the internet are not based on what you and I really want. It’s based on getting those ads clicked. Period.

If writers were like other trades – teachers, police, electricians, carpenters, firefighters and so on – we’d be talking to each other, getting angry and starting to organize. But we’re not like other trades. We’re largely solo enterprises, and some of us truly hit the wall looking for work. Those of us who have reached that level of desperation actually bow down to the demon and start writing for the mills. None who do like it. But they think they must.

A similar phenomenon occurred around 30 years ago when stock photography came into being. It pretty much killed professional photography. Ad agencies and magazines that used to pay thousands of dollars for photo shoots began paying $1-200 for stock shots instead. As the stock houses grew in number and strength, photographers bowed to them and turned over their images. That only helped drive the nails into their coffins.

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The basics of branding.

Branding baby steps.

The idea of “branding” may sound formidable to many companies. A daunting new task for marketing to add to its plate. I can make it simple for you. A company’s brand is ultimately defined by three things:

  • Competencies – what you do
  • Standards – how you do it
  • Style – how you relate to your marketplace

These are things that need to be both defined and agreed upon before any creative work starts.

Once they are agreed upon, they need to be maintained with consistency across every form of communication – from e-mails to business cards, and from one-on-one conversations to a major marketing campaign. Without that consistency, there can be no brand.

To put it into simple steps, you need to determine:  your message, your target audience, how your product or service benefits them, what the competition is saying, and how you’re better or different. And that, folks, is what branding is all about.

Tag lines rule.

This may raise a few hackles:  to me, a tag line is the heart of any brand. Headlines come and go. Vision and mission statements are useful when you can’t fall asleep. But to know what an enterprise’s brand is really about, look at their tag line.

One of my favorite, short-lived tag lines of all time was from UPS: ”Moving at the speed of business.” When that came out, I thought, “boy, now they’re going to give FedEx a run for their money.”  But what did they do a year or two later? Changed it to: ”Trust brown. ” Trust brown? Their rationale (if there is one) was that they didn’t want to frighten off their non-business clientèle. Umm, no matter what you’re shipping, or to whom, wouldn’t you want it moving as fast as possible? ”At the speed of business” sounds pretty darn fast, doesn’t it? Alas. (Imagine a FedEx did me-too … that might be “Pick Purple.” Ugh.)

And only a tag line can consistently appear in ads, commercials, on stationery, at trade shows … heck, you can even answer the phone saying your tag. (Although I don’t recommend that since those scripted greeting are long enough already …) The bottom line – in my experience – is that tag lines are the hook for everything you do that’s marketing. Choose one carefully because you don’t want to be changing your tag every six months.

Super-brands.

There are many “super-brands” in our marketplace today – Coke, Kleenex, Xerox, FedEx, etc. They are super-brands not just because of how they define their product or service, but also because they define their category. That means, in part, that we refer to Coke when we mean most any soda, or Kleenex when we mean any tissue, and Xerox when we mean any kind of photocopying. (It’s good to be a super-brand.)

While UPS is a huge company with a well-established brand, it still needs to distinguish itself from FedEx, even though they are in the same category. We, the people, have given FedEx a significant branding edge by making it common to say “FedEx it,” regardless of how we’re actually going to overnight a package. “UPS it” just doesn’t have the same catchy feel.

I’ll bet dollars to doughnuts that the only people who say “UPS it” are the ones who mean just that and only that, while “FedEx it” has become ubiquitous, no matter which company we ultimately use to overnight something. We’ve done the same with Kleenex for years, which was why some years ago they changed their actual product name to “Kleenex brand facial tissues” in order to protect their brand. (Thank goodness for lawyers.)

Branding is not new.

While some “marketing folk” may try to beguile you with their branding acumen, know this:  branding is a repackaging of “USP” – Unique Selling Proposition. USP was invented by Rosser Reeves in the 1940s at Ted Bates & Company.

USP became the standard by which all advertising and marketing agencies would judge themselves and their work:  ”Are you selling the benefits?  Are you making empty claims? Why should people care?” Little things like that. Every agency came up with its own nomenclature for the USP process, but it was all thanks to Rosser Reeves.

The key differentiation that branding brings to the table is the concept of companies having internal and external audiences. To put it simply, you have to market to your own troops before you market to the world at large. This means creating an awareness of your branding and an esprit de corps within your firm while pushing the message out.

Some will go so far as to encourage companies to “live the brand.” I draw the line there, recalling what my European father always said, even after moving to America: ”we work to live, we don’t live to work.”

Now you know enough to cause some serious damage. Go forth and brand.

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On creativity.

“An artist is someone who can hold two opposing viewpoints and still remain fully functional.” — F. Scott Fitzgerald

Box?  What box?

Everyone in marketing communications earns their bread by being “creative.” We are measured by the level of “creativity” that we bring to the table. It’s a constant challenge. But one develops a habit of not being linear; of “thinking outside the box.”

And yet it’s enormously challenging to explain to non-marketing people exactly what we do and how we do it.  There’s a story that keeps circulating among us on Web boards about a writer who was hired to do an ad.  He did it; he brought it to the client along with a bill, and the client said, “That’s not very long, is it?  How long did it take you to write it?”  The writer responded, “About 25 years.”

We develop our craft over time.

I can write far more quickly today than when I first began.  A lot of that is the result of an evolving ability to make better and better judgement calls – we learn to more quickly recognize what works and what doesn’t the more we practice our craft.  We also know how to jump-start our thinking to put things in motion.

Many people think that “creativity” is some kind of voo-doo.  That we’re selling snake oil.  Alas, there are far more who misunderstand us than those who recognize and appreciate what a good copywriter can do.

“Writing is an occupation in which you have to keep proving your talent to people who have none.”  – Jules Renard

Sometimes creativity is genius.

J. S. Bach wrote The Brandenburg Concertos as a kind of job application – a job he never got, and the concertos remained in some drawer for a couple of hundred years before anyone even played them. To me, he’s still the pinnacle of human creativity, and yet I can’t help thinking that in his own mind he always saw himself as a church organist (orgelmeister) who had to write a new cantata every week to support himself and his very large family.

And wasn’t Einstein exceptionally creative? The mere ability to think of light bending in space means that one’s mind is not bound by existing knowledge – one “creates” new ideas as one comes to a kind of enlightenment.

Then there’s creativity that borders on magic in all the technology we see coming into being on a daily basis, such as more and more functional flat-screen applications.

I will leave you with two quotes on this subject:

“Any sufficiently advanced technology is indistinguishable from magic.” – Arthur C. Clarke

“The real technology – behind all our other technologies – is language.  It actually creates the world our consciousness lives in.” – Andrei Codrescu

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No one is born a copywriter.

There are no copywriting courses.

While it’s possible to be trained as an art director or designer, it’s not really possible to be trained as a copywriter. The aesthetics of good design can easily be taught in theoretical courses, but copywriting is a craft, like cabinet-making.  You can be shown examples of good copywriting, the tools you might use, but to learn how to produce your own copywriting you have to work at it and learn the craft through experience.  And, like cabinet-making, the more you practice, the more you learn how to do it better and better.

I’ve been writing since I was about 12, and my first professional writing career was in public relations. After three years of that (in the music business in Hollywood), I knew I couldn’t keep doing it – it seemed incredibly dishonest to me since one had to continually say “I think this is the greatest (artist) (performer) (band) since the invention of sliced bread.”

Someone said, “why not try advertising?”

Someone I knew was a copywriter and suggested trying it. I found out fairly quickly that I’d need a portfolio, which I didn’t have. So I proceeded to work on building one – fictional ads for real products and companies. The more I interviewed for jobs, the more feedback I got (and requested).

Finally, someone said, “Your stuff is really good, but L.A. is kind of small (late 70s) so you should go to New York.” Eventually I made the move, got some interviews and was told, “Your stuff may be good enough for L.A., but it’s not quite good enough for New York…”

Back to work on the portfolio, begging for interviews for feedback, and a few months later I got my first job. The more I did it, the more I learned. But what struck me the most was that copywriting is a craft unlike any other. It’s the most powerful self-editing method I’ve ever encountered.

It makes capitalism work.

I initially recoiled at the thought of writing ads … after all, we all hate them, right?  But I came to realize something:  advertising is an essential element in our economic system.  The American economy was built on competition.  It’s pretty hard to compete if you haven’t got any awareness for your product or service.  That’s where we come in.

Advertising is also far more honest than P.R. or “promotional” marketing. You aren’t telling anyone you personally love something. You’re creating a stand-alone message that says, “this is an ad for something; you know it’s an ad; we just want to introduce you to this (product) (service) and let you decide.”

The rest is up to the product or service.  We don’t actually sell anyone anything.  We simply create awareness of and interest in the products or services of our clients.

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Unique is an adjective, not a benefit statement.

The use of adjectives such as “unique” to describe a product or service is a sure sign of weak or lazy copywriting skills.  It takes real work and real effort to uncover benefit statements that are meaningful to customers, and that help products and services stand out.

Most of us start with questions when we work with clients. And the common element in all our questions is the uber-question: “why should people care?” When clients answer, “because we’re the best,” it doesn’t do us much good. We have to dig deeper because our client’s customers will demand to know: why are you the best; how did you become the best; how long have you been the best; who’s your closest competitor; what makes you better than them?

That’s why any copywriter worth their salt (Roman soldiers were paid in salt way back when) will insist on benefit statements over adjectives, because they’re the only way for products or services to truly have “unique” as a takeaway, without ever having to say it.

Adjectives are a crutch.

If you’re working with a writer who uses adjectives like “unique,” or “one-of-a-kind,” or “exclusive” as easily as most people use napkins, you could be working with a writer who’s dependent on a crutch.

That’s what those hyperbolic adjectives are. They’re known in the trade as “empty claims.” Pretty much in the same category of believability as “the check is in the mail.” No truly professional writer will settle for such lightweight writing—and you shouldn’t, either.

However, if your writer backs up those weak adjectives with powerful facts, that’s a different story. E.g., “we’re unique because we’re the only auto detailing business in town that will come to your home or business.” If that’s really true, that’s not so bad. But unique is still an adjective, so you still have to back it up. And as soon as someone else starts doing what you do—where you do it—you’ll have to drop it.

Find the difference, use the difference.

What if instead you could say, “the only auto detailing business in town where every employee is trained by Norm, detailer to the stars.” Nobody could ever take that away from you. See?

Sometimes clients realize their uniqueness and can provide benefit statements to back it up, but most often they don’t. So it’s up to us professionals to dig for them, polish them and present them to the most appropriate target audience for that specific product or service.

If your business really is a “me-too” business, such as another burger joint in a sea of burger joints, then your writer will need to work very hard to come up with that certain something that sets you apart, and then play it up for all it’s worth.

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Five steps to creating marketing campaigns that work.

The most important element of marketing campaigns is effective communication.  Marketing, after all, is all about communication.  Effective communication is the only way to produce positive results.

How can you produce effective communication? By understanding that communication is a science. What’s more—as in any scientific field—there’s both a methodology and a sequence that need to be followed in order to achieve a stated goal.

The methodology for marketing is a sequence of steps based on critical questions. The people handling your communications need to know which questions to ask at each step.

The answers to those questions are essential for the people who write, design and execute a finely-tuned marketing program.

“If you build it, they will come” has led to many a business failure. The rule that businesses have learned the hard way is “if you create awareness, they will come.”

STEP 1: Define your message.

  • What is it about your product or service that needs communicating?
  • What sets your product or service apart?
  • What specific need does your product or service fill in the marketplace?
  • Who else is out there offering a product or service like yours; how are they doing?

This can’t be a haphazard attempt:  this is your USP, your brand.  The message needs to be clear, concise and compelling. And, most important of all, you’re not producing the message for yourself—you’re doing it for your target audience.  So it’s not about what you like or what folks in your company like; it’s about what your target audience likes and will respond to.

STEP 2: Define your target audience.

Once you’ve defined your key message, you need to know to which audience it will be directed.

This is not based on whimsy. The only way a product or service can succeed is if:

  1. It fulfills a specific need for a specific target audience
  2. You make the specific target audience fully aware of the existence of that product or service (which, by the way, is the key role of any communications effort).

These are the questions that need to be asked in order to arrive at your true target:

  • Who’s the key audience for your product or service?
  • What’s the key benefit to that audience?
  • Is your product or service something they’ve been wanting, or is it entirely new?
  • Who’s the competition? What’s their track record?
  • What’s different about your product or service?
  • What will it take to win?

STEP 3: Determine an adequate budget.

A base rule of thumb is to assign at least 5% of gross sales to marketing communications. But, remember, the most successful companies are spending an average of 15%.

The key here is to realize that it’s not enough to create great advertising—it needs enough exposure and time to be seen and assimilated. For advertising to work and build, it needs to be a sustained effort.

STEP 4: Establish an effective tracking system.

Most sales people in most companies typically ask the marketing people, “How will I know the advertising is working?”

One way is to have a “response mechanism.” For example a business reply card (BRC) in a magazine, or an 800 number in broadcast and web site advertising. In all cases, however, it’s essential that leads be tracked from their origins.

The BRC, for example, would be coded so you’d know which publications are pulling the most; the 800 number should be a dedicated number that makes it easy to track the source of calls. The Web site should have a response field for “How did you hear about this site?”

Another way to track the effectiveness of your communications efforts it to track sales for a measurable increase.

Once again, advertising is a slow-building process. It may take several exposures of an ad or commercial before results are seen. But once the momentum is established, the speed can be maintained.

STEP 5: Plan an on-going campaign to maintain ongoing sales.

Advertising is not just a kick-start for sales.  It can actually be the engine that drives sales cycles by creating and maintaining awareness .

The way to convince those who doubt its effectiveness is to ask, “How many additional sales people would it take for us to match the kind of exposure our marketing communications are giving us?”  A single ad can expose your product or service to thousands or hundreds of thousands of people at one time.

Once you’ve seen that what you’re doing works, you need to understand how to keep up the pace and—if you’re ready—how to increase it. Important caveat: don’t increase demand when you can’t match it with supply. Advertising works. If you’re not ready to meet the demand it can create, you can do more harm than good.

There are multiple ways to get the word out, including online. Ad placement is a science and needs to be carefully considered, preferably by media placement professionals who understand demographics and target audiences.  Allowing yourself to be persuaded to advertise by a sales rep at a publication or media company most often turns out to be just like the definition of a boat:  a place in the water where you throw money.

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