Be Brief
One of the worst mistakes email copywriters make is trying to shove the entire story into the email message. Think about when you open a marketing email in your inbox. Do you read every single word in there? Probably not. It’s more likely that you scan for important points so you can glean the overall message, and decide whether you want to take any action. So if you’re sending email with hundreds of words of copy, you’re making it much more difficult for recipients to decide whether they want to click through … because they can’t quickly sift through all of the information in your email!
Instead, find a way to summarize what the reader will get in a compelling way, and let them click through to a page on your website for more information. Take a look at how this HubSpot customer and Certified Partner Precision Athletics drafted a brief email that encouraged readers to click through for more information:
There are a few lines of copy used to set up the purpose of the email and, of course, thank the recipient for utilizing their free training session. But after that, Precision Athletics gets to the point of the email — delivering success stories from those who have completed the training program to motivate the email recipient.
Keeping your message on-point is the key to writing brief email copy. What’s the point you’re trying to make with your email? If you know the action your email is supposed to drive — recipient buys a grill the size of a Foosball table, recipient remembers to buy their Bruce Springsteen tickets, recipient gets motivated to work out — you’ll have a much easier time drafting succinct email copy that remains focused on that one end goal. And if writing succinct email copy isn’t enough of a motivator for you to narrow down your goals, remember that having just one primary call-to-action in your email marketing results in better click-through rates than emails with competing calls-to-action!
Use Actionable Language in Your CTA
That’s right, emails have calls-to-action, too! Well, the good ones do. First and foremost, your email call-to-action should be extremely easy to identify. Remember, people scan their emails, and if there’s one thing you want your recipient to pick up on, it’s your call-to-action. If you’re sending an HTML email, you may decide to include a button like this AmazonLocal email did below.
Refined Wisdom: Sometimes editors get bad design because they keep asking for something different, something “creative.” One designer told me, the editors bring it on themselves and should share the blame. But the fact remains, editors are too often intimidated by designers.
It must be a decade ago, and I don’t know where, but I was addressing a large group of writers and editors. Somewhere in the middle of my address, I said: “We editors must get control of our publications again.”
There was a roar from the crowd as if a winning, last-second touchdown had been scored. My, how they wanted to hear that.
No, I was not talking about getting more control from the publisher or corporation. No, I wasn’t talking about escaping pressure from advertising. I was talking about regaining control away from designers who use design for the sake of design, who obscure text by reversing it or printing red over black, and who do little if anything to enhance the message of the text.
I know that I should be talking about writing, but what is the point of writing if people insist on making the text illegible? There are really only two reasons to kill trees for print – legibility and portability. Most people still prefer reading words on paper over words on the screen. I’ve read that one can read print on paper 25 percent faster than words on the screen. And it’s certainly easier to carry paper around than a laptop.
Regardless of how many studies show that readers turn away from reversed type, many publications I see have pages and pages of it. Why? Black on white is easy to read, and so is black on yellow. But why put dark colors behind print? Or worse, why put images behind print?
When I get mean, I say that I once met a designer who could read. And – that I once met a designer who actually did read the copy. I once said that to a group of writers, editors and designers at the Meredith Corporation, and after I finished, the head of design there came up to me and said, “Here at Meredith, we insist that designers read the copy.” Well!
Perhaps the problem is the words “design” and “designer.” Jan White, the best there is in graphic presentation, told me that once a young woman came up to him and said, “Mr. White, I, too, am a designer.” “That’s OK,” Jan told her, “Some day you will grow up to be a journalist.”
I do not do design, nor do I do design workshops. But I know this: Whenever a design calls attention to itself rather than to the message of the text, it is bad design. A photography professor at Missouri said it nicely some years ago: “Suppose you had a lovely painting in your home. A guest looks and it and says, ‘Oh, what a nice frame.’” Would you be pleased?
I prefer the word “presentation.” Everyone — writers, editors, photographers and designers — (I confess, I don’t know what other word to use here), must be concerned with the presentation of the ideas. And by far the best time to begin doing that is before the article is written. If designers and photographers are brought into the editorial process from the beginning, there is much less change for bizarre and disintegrated pages.
I wish I could count the times that editors have told me that they try to tame the designers, but the designers tell them editors know nothing about design, and they should tend to what they know. Besides, designers win prizes – awarded to them by other designers. I think we should stop awarding prizes for design and instead award them for presentation.
Well, it doesn’t take a genius to look at a page to see whether all of the type is easily legible. It doesn’t take years of training to see when artwork on the page has nothing to do with the text except to distract the reader.
Sometimes editors get bad design because they keep asking for something different, something “creative.” One designer told me, the editors bring it on themselves and should share the blame. But the fact remains, editors are too often intimidated by designers.
Isn’t it time editors got control of their publications again?
(Everyone should read “Editing By Design,” by Jan V. White, New York: Allworth Press, 2003.)
The other day, I found myself thinking about all the ways we use words. Scratch “all!” Let me start over: The other day, I found myself thinking about the ways we use words.
Is the word “all” necessary?
Consider:
How do I love thee? Let me count all the ways.
How do I love thee? Let me count the ways.
Would we find Elizabeth Barrett Browning’s poem as memorable with “all” in the first line?
Consider these:
Arrest all people who break laws.
Arrest people who break laws.
Color in all the blank squares below.
Color in the blank squares below.
All people have their good and bad sides.
People have their good and bad sides.
The above sentences without “all” are stronger and more respectful of the reader. Their attitude is calmer, less preachy and more appealing because they’re missing one little word. Notice I chose not to write “all because.”
Look: There may be a place for “all,” for example, when you’re giving instructions and you want to make certain the person understands: Color in all the blank squares below. However, if I wanted to be emphatic, I would write, Color in the blank squares below. Check your work and make sure you don’t miss any. I think it’s far more respectful when you use a separate sentence to express that thought.
Getting even with “even.”
Even you have faults.
You have faults.
Everyone is trying harder. Even he is.
He is trying harder, just like everyone else.
He collects everything, even pennies.
He collects everything, including pennies.
Even when Jim applied himself, his output was average.
When Jim applied himself, his output was average.
Even if you’re extremely lucky, your chances are not very good.
If you’re extremely lucky, your chances are not very good.
My point? “Even” is another one of those words that act as the moral equivalent of a blinking neon sign. Yes, it can be used to express surprise about an unlikely event; however, invariably, I prefer alternative sentences that avoid using the word.
Delete “just”
I want just the facts!
I want the facts!
Just because you’re intelligent doesn’t mean you shouldn’t try hard.
You’re intelligent. Does that mean you shouldn’t try hard?
We got there just in time.
We got there in time.
You get the point.
Write without “that”
I think that you’re intelligent.
I think you’re intelligent.
I say that a person is only human.
I say a person is only human.
I believe that all men are created equal.
I believe all men are created equal.
This is the gift that we give each other, the gift of love.
This is the gift we give each other, the gift of love.
Some sentences require the word “that;” however, it is often unnecessary. When it is, leave it out!
“All,” “even,” “just” and “that:” I am not suggesting you never use those words. I am suggesting that each time you want to use them, you see if you like the sentence better after you rewrite it without that word. Give it a try!
It’s just better writing.
Scratch that. It’s better writing!
2. Always prefer the plain direct word to the long, vague one. Don’t implement promises, but keep them.
3. Never use abstract nouns when concrete ones will do. If you mean “More people died” don’t say “Mortality rose.”
4. In writing. Don’t use adjectives which merely tell us how you want us to feel about the thing you are describing. I mean, instead of telling us a thing was “terrible,” describe it so that we’ll be terrified. Don’t say it was “delightful”; make us say “delightful” when we’ve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers, “Please will you do my job for me.”
6. Passive voice is always wrong. Wrong! Passive voice is when you don’t name the person who’s responsible for the action. An example is the sentence “Mistakes were made,” because it doesn’t say who made the mistakes. If you don’t know who is responsible for an action, passive voice can be the best choice. (See episode 46 for more details.)
5. “I.e.” and “e.g.” mean the same thing. Wrong! “E.g.” means “for example,” and “i.e.” means roughly “in other words.” You use “e.g.” to provide a list of incomplete examples, and you use “i.e.” to provide a complete clarifying list or statement. (See episode 53 for more details.)
4. You use “a” before words that start with consonants and “an” before words that start with vowels. Wrong! You use “a” before words that start with consonant sounds and “an” before words that start with vowel sounds. So, you’d write that someone has an MBA instead of a MBA, because even though “MBA” starts with “m,” which is a consonant, it starts with the sound of the vowel “e”–MBA. (See episode 47 for more details.)
3. It’s incorrect to answer the question “How are you?” with the statement “I’m good.” Wrong! “Am” is a linking verb and linking verbs should be modified by adjectives such as “good.” Because “well” can also act as an adjective, it’s also fine to answer “I’m well,” but some grammarians believe “I’m well” should be used to talk about your health and not your general disposition. (See episode 51 for more details.)
2. You shouldn’t split infinitives. Wrong! Nearly all grammarians want to boldly tell you it’s OK to split infinitives. An infinitive is a two-word form of a verb. An example is “to tell.” In a split infinitive, another word separates the two parts of the verb. “To boldly tell” is a split infinitive because “boldly” separates “to” from “tell.” (See episode 9 for more details.)
1. You shouldn’t end a sentence with a preposition. Wrong! You shouldn’t end a sentence with a preposition when the sentence would mean the same thing if you left off the preposition. That means “Where are you at?” is wrong because “Where are you?” means the same thing. But there are many sentences where the final preposition is part of a phrasal verb or is necessary to keep from making stuffy, stilted sentences: “I’m going to throw up,” “Let’s kiss and make up,” and “What are you waiting for” are just a few examples. (See episode 69 for more details.)
You can find more information about each of these myths in the Grammar Girl archives.
I’ve always considered myself a public relations professional by trade. Even when the general perception of PR isn’t all that good, I still try to advocate for stronger ethics, better measures and more honorable tactics than those that give the industry an iffy reputation. But despite the last several years of trying to help many of my colleagues better understand that blasting and lists and impersonal communications is not only generally not effective but under certain conditions illegal, too many still don’t get it.
So let’s review … and this time pay attention:
- If you email a blogger, media member or otherwise individual with a pulse and they do not know you and didn’t ask you to email them, you are — at most — introducing yourself. If you do anything more than that, you are spamming them.
- If you email anyone for a commercial purpose — and outreach on behalf of a company or organization is for a commercial purpose — your email and company or firm is subject to the CAN-SPAM act. As such, among other things, your email has to have a “clear and conspicuous” explanation of how to to opt-out of your emails. By the way, you also have to clearly identify the communication as advertising. And if you think PR isn’t advertising in this case, roll the dice. I’m sure a judge won’t agree with your COM 204 professor’s definition. And PRSA is understandably nut-less, all but endorsing email spam, when it comes to their official reaction to this notion. (Thank you for prodding them, Josh.)
- Media database companies cannot possibly update tens of thousands of media member’s contact information or preferences to the extent you can rely on them to not get you in trouble with a blogger who agrees with the first two points. Automation, even using companies claiming to have awesome data to drive it, is not cool.
- Yes, this makes scaling your media outreach next to impossible. But that’s a good thing. Your “list” is supposed to be a list of personal contact information for people you know and have some sort of professional relationship or contact with. They should be glad to open your emails. Any list that is more than that is one that should comply to No. 2.
Yeah, I know it sucks. I used to think PR was easy, too. I’d download my list of 400 outlets that qualified under my target parameters, copy and paste my press release and hope like hell for some pick up. I’d follow up and call about 15 key media outlets and develop the relationship part, maybe get 5-6 of them to bite on the story, along with the 2-3 dozen small town newspapers that were so starved for content they copy-pasted my release, and made my clients or bosses happy.
You’re in the communications business. Communications wasn’t meant to be one to many. It’s unnatural.
Ask any journalist and they can tell you about the 5 Ws and an H. Any solid news story covers those six basic ingredients. The same is true for communicating with others.
Want to ensure you don’t forget a critical detail in your communications? Think 5 Ws and an H to ensure you’re not missing an important detail, sharing the all-important context, and making it relevant for your audience.
What
What’s the decision? What does it mean? What should I know? What’s in it for me?
Why
Why is it the right decision? Why now? Why is it important?
Where
Where is this decision coming from? Where/what locations will it affect? Where can I get more information?
When
When is this happening?
Thy landing page shalt have but one goal, and the number of the goals shall be one. Not two, not zero, but one.
If thy landing page hath zero goals, it is a “branding” page, and such vanities shall bear no fruit.
If thy landing page hath more than one goal, thou shalt confuse thy visitor, who shall leave thy site in disgust and anger.
Thy copy shalt not be divided amongst more than one goal, for such shall surely drive thy visitor to lamentation and thy copywriter to madness.
I love outlines. Most of my writing starts with an outline, which becomes the functional framework for all my content creation.
Headline
- I like having a simple keyword in the headline. It makes it easy to attract the eye of folks scanning my website, their RSS feed, or their social streams.
- Here are a few of the sample mini-frameworks I use
- Keyword: [A facet of defining this keyword]
- Some version of numbered list
- Otherwise short and descriptive with at least one keyword
Opening Line
- No more than 2 sentences
- Usually a quip, but always a luring statement.
- I often think about what would make you click if seen in the space of a Google SERP, a Tweet, or a RSS reader
Opening Paragraph
- Ask a question,
- Make a statement, or
- Challenge an assumption
Convince Me Please
- I rarely exceed three paragraphs in this mid-section
- I use sub-headlines or numbered sub-headings
- I generally use one of three frameworks:
- 3 numbered sub-headings + respective paragraph
- 3 headlines + respective paragraph
- 1 list introducing paragraph + bulleted list + 1 expounding paragraph on the list
There are many wonderful people living the Gospel of the One-Pager that we can all learn from. A few examples:Strategy to Performance Dashboard Downloadable, this SlideShare tool from BlueOcean gives you 9 pages of templates to fill in.One Page Business Plan from lifehacker.comOne Page Job Proposal for getting a new job
Build a One Page WebsiteTo find more on your own, simply Google “one page (fill in the blank)” for whatever you’re seeking. Somebody out there has created a one-pager for just about everything!Don’t Just Copy the Templates: Develop a One-Pager Skillset
To truly live the Gospel of the One-Pager, don’t just search for specific one-pagers. Look across all that you find for patterns:• What do all these one-pagers have in common?• How do the get to the crucial stuff while editing out the noise?• How are they packaged?• etc.Among other things, you’re likely to find:
• They all have one key point, and no more!
• Everything else is compelling storytelling to support that key point
• They target the audience’s head (thinking), heart (feelings), and hands (action)Once you begin to practice what most one-pagers have in common, you will have forever harnessed the Power of the One-Pager. And that’s a superpower that will serve you well, everywhere!
Why are we putty in a storyteller’s hands? The psychologists Melanie Green and Tim Brock argue that entering fictional worlds “radically alters the way information is processed.” Green and Brock’s studies shows that the more absorbed readers are in a story, the more the story changes them. Highly absorbed readers also detected significantly fewer “false notes” in stories–inaccuracies, missteps–than less transported readers. Importantly, it is not just that highly absorbed readers detected the false notes and didn’t care about them (as when we watch a pleasurably idiotic action film). They were unable to detect the false notes in the first place.
And, in this, there is an important lesson about the molding power of story. When we read dry, factual arguments, we read with our dukes up. We are critical and skeptical. But when we are absorbed in a story we drop our intellectual guard. We are moved emotionally and this seems to leave us defenseless.
Web writing has, with few exceptions, put an end to the days of long-winded, verbose content, and has ushered in an era of quick, concise pieces you can read on the fly, while still reaping the benefits of the information gathered. So, how can these little black dots help transform your copy from good to great and help you draw readers in? Here are some easy-to-follow bullet point basics that can help make your content pop from the page:
Treat them like mini-headlines
Bulleted content should be introduced with short, catchy phrasing that draws the eye of the reader quickly. They not only tell the reader what each section is about, they’re like bookmarks that make it easy for them to scan the entire piece and return later for more information. For example, if you’re writing about the “Best Exercises for Toning your Abs,” a bullet may look something like this:
- The sneaky side crunch: A deceptively difficult move that not only tests your balance, it also torments your oblique muscles in a cruel-to-be-kind manner that will leave you bikini-ready in no time.
Use symmetry
Be consistent. Don’t make one bullet point three sentences in length and then make others six or eight sentences long. Keeping the look similar across each section will visually enhance your blog, article, or on-page content while making it more inviting to the reader.
Avoid a barrage of bullets
The idea here is to make your content easier to navigate, not more complicated. Using too many bulleted lists within one article (more than two, as a general rule) or using sub-bullets (or sub-sub bullets) will make your content look confusing, which will only turn off your reader.
Keep the flow
Use a parallel structure when creating your bullet points. In other words, stay consistent grammatically with the wording you use to introduce your bulleted list. Here’s an example of what not to do:
How can you stop snoring, improve your health, and get a better night’s rest? Begin by:
- Sleeping on your side
- Get rid of allergens
- Improving your sleep habits
Begin by “get rid of allergens”? That’s just not right. The middle bullet should read, “Getting rid of allergens.” Keeping it consistent will help improve your writing style and readability, and will keep you from looking like you don’t understand basic English grammar.
3. Write like a person, not a professor. A blog isn’t a lecture. It’s a snapshot of your perspective on a topic. That means it has your voice. Your personality, stories, examples and sometimes silliness. People do not connect to the information only; they connect to the author. Blogs are not Wikipedia entries, they are mini-monologues, (dialogues if people post up comments), that are first person narrated.
4. Give access. By offering a way to connect back to you directly, you give people a chance to get to know you better, get more information and value and choose to hire you. Regardless of whether your business grooms animals, gives cooking classes, does bookkeeping, makes parts or services vehicles, if people see you as someone they connect with and whose information is helpful, they will want to connect.
5. Share everything. Give away your ideas, your thoughts and insights. It was hard at first for me because I thought, “I sell my intellectual property, so how will I make any money if I give it away?” Over time I learned that if people find your ideas valuable, no matter how many you give away, people will still want more and be willing to pay for them. Of course, you have to have a way to monetize your business, but in creating a brand and connecting to your market, don’t be afraid of free. Just make certain that as you build your business, for those people who want to dive deeper or get individual assistance, you have a way to charge for that work.
In this interview, Paul talks about how to use storytelling as a leadership tool, ways that storytelling can make leaders more effective, why storytelling it important, and more.
How do companies make storytelling part of their leadership practices?
Some of the most successful companies in the world use storytelling very intentionally as a leadership tool. Organizations like Microsoft, Motorola, Berkshire Hathaway, Saatchi & Saatchi, Procter & Gamble, NASA, and the World Bank are among them. They do this in several ways.
Some have a high level corporate storyteller who’s job it is to capture and share their most important stories. At Nike, in fact, all the senior executives are designated corporate storytellers.
Other companies teach storytelling skills to their executives (because they certainly aren’t learning it in business school). Kimberly-Clark, for example, provides two-day seminars to teach its 13-step program for crafting stories and giving presentations with them. 3M banned bullet points and replaced them with a process of writing “strategic narratives.” P&G has hired Hollywood movie directors to teach its senior executives how to lead better with storytelling. And some of the storytellers at Motorola belong to outside improvisational or theater groups to hone their story skills.
In what ways can storytelling help leaders be more effective?
The short answer is that storytelling is useful in far more situations than most leaders realize. The five most commonly used are probably these: inspiring the organization, setting a vision, teaching important lessons, defining culture and values, and explaining who you are and what you believe.
But there are so many more. In my research for the book, I interviewed over 75 CEOs and executives at dozens of companies around the world and found them using stories in a much wider range of leadership challenges than I ever expected. For example, storytelling is useful when heavy influence is required like leading change, or making recommendations to the boss. But it’s also good for delicate issues like managing diversity and inclusion, or giving people coaching and feedback in a way that will be received as a welcome gift. It can help bring out more of people’s creativity, or help them rekindle the passion for their work. In all, I identified 21 common leadership challenges where storytelling can help.
So you don’t think I’m naïve or overzealous about the topic, I’m not suggesting storytelling should be used in every situation. For example, if you’re trying to decide what your five-year strategy should be, what you need is a good strategist. Or if you’re trying to decide how much money to pay to acquire your biggest competitor, what you need is a good financial advisor.
But once you’ve decided what your five-year strategy is going to be, and you need the 15,000 people that work at your company to line up behind it and deliver it, now you need a good story. Or once you’ve acquired your biggest competitor, and you need the 5,000 people that work there to stay, and not quit, now you need a good story. In short, storytelling isn’t always the right tool to help you manage things; but it’s exceptional at helping you lead people.
3. Editors can’t read your mind, and neither can your readers. Often writers are so immersed in their material that they forget that their readers, editors included, don’t know everything they know.
*If you are writing fiction, review your work for holes in the story. Have you skipped over scenes or backstory that serve a crucial role in the story?
*If you’re writing nonfiction, approach your work like an outsider. Does the work assume that the reader knows the people, places, and theories that are in the book? Is there any jargon that needs to be removed?
4. Guidelines matter. Publishing houses or periodicals create writer’s guidelines for a reason, and it usually has to do with two things: audience and money. The style guidelines are designed to help the writer reach the intended audience (remember #2: it’s not about you). If writers don’t stick to the style guidelines, it just adds more work for the editor—who has to edit the work to fit house style. The format guidelines, including word count, often have to do with money. The publishing company has budgeted for a certain number of pages. Your piece, once dropped into the template, must fit. When writers turn in work that is too long or too short, we have to fix it. (By the way, I rarely hire back writers who don’t follow guidelines. It’s too much work!)
5. Deadlines matter. Think of your writing deadline as just one domino in a long line of dominoes. When one deadline is missed, it affects every other deadline for the project. Yes, there is sometimes wiggle room, so if an emergency arises, please do talk to your editor about an extension. That said, I would not encourage any writer (no matter how good you are) to miss a deadline more than once.
I can talk for hours on the subject, but if asked for the most effective ways to get online readers to read what you write, I would offer these strategies as the most important, which are backed up by eye-track studies as being an effective way to get your message across to online readers:
- Write compelling but clear headlines: Don’t get cute. Online and in print, the headline is almost always the first thing readers look at. Make sure it is clear and gives a good idea of what the post is about, while still leaving the reader wanting more.
- Write in the active voice: Effective online writing is all about getting to the point, and on a line-by-line basis, the most effective way to do that is to use the active voice, which naturally lends a sense of urgency to your writing. The easiest way to do that is to start each sentence with the subject, immediately follow that with a strong, active verb, and then follow that with the direct object. Avoid adverbs: they’re a telling sign that you chose the wrong verb.
- Online writing is visual: Long, dense paragraphs turn off online readers. Create white space in your copy by keeping paragraphs short and using bulleted lists when appropriate. Use bold text to accent key information and use block or pull quotes to draw readers into the copy.
- One main idea per sentence: Keep sentences on point. Avoid multiple clauses and phrases, and lots of information stops and commas. Make sure each sentence has one idea, and not much more than that.
- No sentence without a fact: Every line you write needs to move the story forward. If a sentence doesn’t have a fact, cut it.
First, you need to identify your audience. There are several methods to identify your audience, such as determining keywords that are bringing users to your website, creating user personae and more. Once you’ve identified your audience, you should create content that speaks to each user persona. Do not stray from this concept, because you will lose readers or followers. Readers are finicky at the beginning of any article or post. If you don’t capture their attention with the title, the remainder of the content might as well be in a language they don’t understand.
For example, let’s say you operate a blog about the exam for certified public accounts. Who is your audience? There are a few user personae we can identify without doing much detailed analysis. You can easily create personae for your audience in the same manner.
- Students: those in their early 20s who are working on an accounting bachelor’s or master’s degree, with the intent of taking the CPA exam eventually.
- Entry-level professionals: early- to mid-20s professionals working full time at a public accounting firm, after attaining a bachelor’s or master’s degree. This group is most likely to be actively involved in accounting practices or preparing to become a CPA.
- Career changers: adults looking to change careers or re-enter the workforce.
- Educators: accounting professors who might need to discuss CPA exam content with their students.
- Professionals: licensed CPAs who are concerned about the future of the profession.
Let’s say we want to target entry-level professionals, because this is likely the largest of the five personae we have identified. Many of these individuals have probably taken entry-level jobs as an accountant but have not yet sat for the CPA exam. One of the greater stresses about this exam is finding out one’s score for each section. Though the exam is largely computerized, it can take a few months for scores to be reported to the appropriate governing body. So “CPA exam score release” is a hot topic and sure to draw attention from entry-level professionals because this demographic would be interested in knowing exam scores.
This would be a perfect theme or title to create your content around. When reading this blog for the first time, readers will immediately be locked in because the content pertains to their situation — not their past, not their future, but what they are actively involved in at the moment. Most readers and discussion groups talk about what’s happening now. What’s buzzing? By focusing your title and content on “the now” of your target audience, you have a much better chance of each reader reading your article or post from beginning to end, which is the goal of any writer.
When selecting a topic, there are a few tips to keep in mind.
- Pick one that relates to at least one of your user personae. This drives at least one group of users to your content and is sure to relate to them.
- Topics should be useful or answer a question. This encourages social sharing, allowing your content to reach beyond its page.
- Pick a controversial or trendy topic. Readers usually show initial interest in current topics and trends compared with those of the past. That is, unless you are comparing a “now” topic with a past topic.
- Limit the sales and marketing aspect of your content. If you’re only trying to sell a product or service, you will probably fail. No one likes to feel as though he or she has been sold, but everyone likes to buy.
William Lee and Rick Patrick are the co-creators of “Talkingstick,” a performance series that is part of the increasingly popular storytelling movement where people stand up before a live audience and tell stories. I know Master Lee (his stage name) and Mr. Patrick because we play poker together, and I’ve noticed something interesting about them: As experienced storytellers, they are so familiar with spotting exaggeration and lies that they can quickly identify a bluff in a poker game.
It is well established that being a good storyteller is a useful skill in careers (and not just for journalists and poker players). We need to tell stories all the time — to position ourselves in the job market, to pitch a new business idea to investors, to explain why a failure was actually a success, and so on.
I recently attended a “Talkingstick” show and sat down with Master Lee and Mr. Patrick to learn some of the techniques they use to tell good stories. Here’s what I learned:
1. Keep it simple. The brain gets overwhelmed when trying to process too much information.
2. Openings and closings are very important. When Master Lee and Mr. Patrick organize their shows, they make sure to begin and end the evenings with their strongest material since this is often what stays with the listener. That is the same reason skilled public speakers often memorize the beginning and ending of a speech but allow themselves to improvise more in the middle.
3. Be mindful of your story’s spine. If your story has six parts, all six parts must be essential. Beware of tangents: if something goes too far astray, you will probably lose your audience’s attention.
Read full article in New York Times
Why do weaker creative brains have a tendency to steal in broad daylight, and why is big money spent in promoting look-alike names, despite knowing full well that these names are stolen from other famous brands? Is it really human nature or just sheer stupidity? Unfortunately, some lack the basic skills for recognizing The Three Golden Rules of Naming.
Millions of entrepreneurs and thousands of account executives from major ad agencies all over the world are losing their sleep these days, most sleepwalking in search of new names with some extra “OO”s to ride along with the success of Google’s name.
During the day, they daydream about coming as close to this name as possible. Copy, modify or steal, who cares, as long it as sounds like Google. OOGLE, BOOGLE, FROOGLE, NOODLE, POODLE, CABOODLE, who cares? Just leave the Google brand name alone.
Look-Alike Names
Why do weaker creative brains have a tendency to steal in broad daylight, and why is big money spent in promoting look-alike names, despite knowing full well that these names are stolen from other famous brands? Is it really human nature or just sheer stupidity?
Unfortunately, they seriously lack the basic skills necessary to recognize The Three Golden Rules of Naming:
- Rule One: Do not hide under someone else’s umbrella, you will still get wet. Don’t be a copycat. It is very bad to copy or borrow from an established identity. A look-alike, sound-alike name, resembling the personality of a powerful, established, legendary name would be fruitless in the long run. Stay clear of legendary names.
In the current battle with Froogle, Google has the full right to challenge as the spelling of frugal was changed to appear like Google’s. Just like in the past, Apple, as in computers, faced copycats called, Pineapple, Banana and Cherry, but all perished in the copycat game. There were also Boohoos, UHOOs after Yahoo. Creative agencies love to steal. That is why there are ALTIVA, ALTIPA, AMTIVA, by the hundreds or ENGENT, PANGENT, and CANGENT. Ever wonder why most cars, beer, banking, medicine commercials are just the same? The corporations pay millions and do endless research that is all wasted in the end, as the resulting names or ads are always just the same. Surely, they are not all out of new ideas — or are they?
- Rule Two: Creativity is a spark of genius. Over-creativity can cause fire and damage. Don’t get too creative. Do not twist, bend, stretch, exaggerate, corrupt or modify alpha-structures to their extremes in naming. It might result in difficult, confusing, unpronounceable and only silly names. Avoid overly creative solutions. Studies have shown again and again that most ad commercials or strange branding themes and names, which surely win top awards from their peers, are simply shut out by customers. Next time, just check the top 10 most-awarded campaigns and their related sales performances. Here, raw creativity is rewarded whether it rings clients’ cash registers or not.
- Rule Three: Work locally, think globally and name universally. Do not short-change. No matter how small or local the project, think of the future and think of this small planet. A name is only good when it is free and clear to travel around the globe, without encountering translation problems or trademark conflicts. Name for the universe. Ninety-five percent of the corporate and major product names will fail a test of global protection and suitability. It is so easy to have a global name identity.
Clarity Needed
Global branding and rules of corporate branding in just about every sector are faced with the massive proliferation and commoditization of leading brands. This factor alone demands clarity in the name identity and a precise definition in the marketplace. Copying and stealing famous names is the first step to a big failure.
Globalization is at a serious crossroad. Nationalistic posturing is demanding localization of brands at a much faster rate. At the end of the day, global corporate nomenclature is the most sought after issue of any serious branding exercise. This process is not to be confused with name branding exercises that are primarily looking at global directories and stealing famous name ideas by changing a letter or two, all in the name of big branding.
Creative agencies should pack up all gear, leave the success of Google’s name alone, and wake up and smell the coffee.
If you’re the head of your company, you have to be able to define not just what your company does, but why it does it.
Having difficulty? That’s normal. You can blame it on the way your brain works. The part of the brain that contains decision-making and behavior doesn’t control language, so when you’re asked questions about why you do what you do, it’s natural to get tongue-tied.
That’s where great leadership comes in. Leaders are required to put in to words what a group does; they’re required to cross over between the decision-making and behavior sphere and the language sphere. Leaders are great because they’re good at putting feelings into words that we can act upon.
So it’s up to you, as company leader, to define your “why.” Here are four reasons you should, if you want to survive as a company.
1. Your company’s “why” generates loyalty.
Apple can sell phones not simply because they have the smarts to make phones; every single one of their competitors can make phones too. What gives Apple permission to sell products beyond computers is the fact that it doesn’t define themselves as a computer company; rather, it is a company that stands for something. It represents an ideal: Down with “the man”; attack the status quo; champion the individual.
As long as Apple’s products are consistent with its cause, the company has the freedom to do things other companies cannot. Those who identify with Apple’s cause, in turn, will say they “love” Apple–even if they think it’s because of the products.
2. Organizational success (or failure) often dates from inception.
Most great companies were founded by a person or small group of people who personally suffered a problem, went through an difficult experience, or had someone close to them face a tricky challenge–and then came up with a solution or alternative. That original solution to that original problem is what they formed their company around; it’s why they do what they do.
Organizations that just look to capture some market opportunity, or are born out of some market research, often fail (or else need endless pools of money to keep going). No one has passion for a problem revealed in market research. People have passion to solve their own problems or to help those they care about.
When creative concepts collide unexpectedly, this sudden accident incubates a branding process, which can result in a random selection of a weird strategy. This gives birth to an extreme name identity, whereupon a major advertising process kicks in. All things are combined — shaken, not stirred — and that’s how we refer to today’s trendy branding. To avoid a catastrophe, we must first learn the secrets of the various branding tricks and become aware of the bigger risks.
Right now, in good old England, they have big corporate brands like EGG, as in ham & eggs, http://www.egg.com; ORANGE, as in juice, http://www.orange.com; and THUS, as in “thus far, this Scottish Telco is still having difficulties,” http://www.thus.net.
Wandering Off the MMap
And then there’s MMO2, a very big telecom name in the UK, created as a cute play on the then very popular millennium year 2000. It was fashionable to use the Roman numerals for 2000 at the time, and so MMO2 came into being — but it soon became outdated in 2003, 2004 and 2005. Now they’ve just dropped the MM to be proudly rebranded as O2, as in oxygen, at http://www.o2.com.
Naturally, you would need oxygen after such a mm-mega surgery. Accidental naming can create a lot of crashes and cause injuries during the long term care of a major brand.
There is also GO, as in go where? And NOW, as in right now. ETC is also supposed to be a gentleman’s gentleman-type magazine for very straight-up guys.
The influence of such strange and experimental naming is also spreading outside of England. In Australia, Quantas airlines almost called their no-frill airline Oi or Oz air, but settled on JetStar, a name already used by so many others in aviation. In Asia, there is now a short-lived fad for two-lettered corporate identities. And no, you can’t ever find them on search engines.
Dancing in the Air
Here in the U.S. we have TED airlines, as in what’s left of United. With only one single peanut per passenger to offer, United Airlines so brilliantly chopped the Uni from their name to come to this unique invention of TED. Like, half the airline with half the things chopped, except the engines, of course. That deserves half an entry in the half-naming hall of fame. Just as Blue, Jazz, Tango and Song airlines are trying to dance in the air, so TED is now attempting its trampoline routine.
It seems that all over the globe there is a rush to find four-letter words for airline brands. Is this the revenge of the disgruntled flier? Maybe. The fact is, airlines are in the fast-chopping mode.
“Cut everything in half and than half again; do it slowly and do it painfully.” Of course they all are losing big money. Who could be surprised about their losses? But one could question the old branding fanfare. To frequent fliers it became obvious, way before the 9/11 tragedy; it all started with the peanut packets being replaced by one single peanut. Now all you might get is just a picture of a meal, a great take-home souvenir.
The peanuts and monkey business are almost over — now you even pay for a cracker and dare ask for butter. All you are allowed is simply to dream of demanding an extra satin pillow with silky blankets. Today, the stage is nicely set to get a greyhound bus service in the air. Cut the washrooms, give them a used parachute. The naming of airlines has taken a major turn from country-specific to discount-coupon-specific and from first-class to no-class. While Asian airlines are boosting super luxury classes, here in the U.S., it is time to fly a TOM or a DICK or a HARRY. Thank you, Britannia, we are amused with these yoyo monikers.
The Global Wordplay
Real advertising was invented in England, and let’s face it, they are great at it, just like the global branding that came out of Japan while America provided the largest arena to play out the branding games.
Meanwhile, our good old McDonald’s in the U.S. is unhappy about McJobs being included as a word in the OED, the Oxford English Dictionary, mother of all the English words and a slap to the French because their Larousse dictionary is poorer by a few thousand French words. Wow, we have more four-letter words than the French — merde.
To Big Mac, the jobs of “Flippin Engineers,” “Moppin’ Mechanics” and “Latrine Sentries” are not to be laughed at. True, Big Mac does help tens of thousands at entry-level jobs and helps students as well. Somehow they later become very obese and try to sue them — in revenge?
Here is a new twist: the fast-food freedom fry, fatty chow-maker now wants to sell children’s clothing and introduce McKids in a big way. Why not go for McSleep: Eat and sleep and complete the life circle — indeed, a million dollar tag line on Madison Avenue. Watch out for the naked kids running around at the golden arches drive-ins exchanging and re-fitting pantaloons — French, that is.
America is better off with business name brands, which give us a clear advantage, provide global identity and a leadership position, rather than just simple English words from the dictionary that can get lost in the crowd. Name wisely, or just go to McSleep.