Copywriting Articles by John Forde
SadiyyaPatel
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Sep 05, 2011
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About This Presentation
COPYWRITING SECRETS OF THE MASTERS - John Forde
Slide Content
www.ProCopyWritingTactics.com
Copywriting Articles by:
John Forde
This special report is brought to you free courtesy of:
www.ProCopyWritingTactics.com
Copywriting Articles by:
John Forde
This special report is brought to you free courtesy of:
www.ProCopyWritingTactics.com
www.ProCopyWritingTactics.com
John Forde:A Master at Writing More
Controls More Often
"If you write copy … how many chances to sell your talents to the businesses you
know and trust have you overlooked? Company websites … local sales
brochures … online ads and sales letters … print ads in local papers … even P.R.
pieces or ezine editorial.
It might be the small gigs that get you started. It might be the big opportunities
that let you smack the cover off the ball at your first at bat. Either way, I’ve met
plenty of people who had no grasp about what role copywriters play.
Masterson‘s [Accelerated Program for Six-Figure Copywriting] offers the most
thorough and well-organized approach to the subject I’ve seen anywhere. There’s
not a technique or secret in there that I haven’t found helpful over the years. I
owe a great deal of my own success to Mike Masterson. And I tell him so
regularly. As for the program, I’d recommend it to anybody – not just direct-mail
copywriters, but anyone who’s trying to get a grip on what makes marketing
work."
— John Forde
JOHN FORDE has been writing winning controls for going on two decades now.
He‘s made untold millions for clients in the financial, health, and travel industries.
John also works as a copy coach, hosting intense seminars for two or three
hundred marketers and copywriters at a time.
John Forde also writes the successful and very useful eletter, The Copywriter‘s
Roundtable.
John Forde:A Master at Writing More
Controls More Often
"If you write copy … how many chances to sell your talents to the businesses you
know and trust have you overlooked? Company websites … local sales
brochures … online ads and sales letters … print ads in local papers … even P.R.
pieces or ezine editorial.
It might be the small gigs that get you started. It might be the big opportunities
that let you smack the cover off the ball at your first at bat. Either way, I’ve met
plenty of people who had no grasp about what role copywriters play.
Masterson‘s [Accelerated Program for Six-Figure Copywriting] offers the most
thorough and well-organized approach to the subject I’ve seen anywhere. There’s
not a technique or secret in there that I haven’t found helpful over the years. I
owe a great deal of my own success to Mike Masterson. And I tell him so
regularly. As for the program, I’d recommend it to anybody – not just direct-mail
copywriters, but anyone who’s trying to get a grip on what makes marketing
work."
— John Forde
JOHN FORDE has been writing winning controls for going on two decades now.
He‘s made untold millions for clients in the financial, health, and travel industries.
John also works as a copy coach, hosting intense seminars for two or three
hundred marketers and copywriters at a time.
John Forde also writes the successful and very useful eletter, The Copywriter‘s
Roundtable.
www.ProCopyWritingTactics.com
Which Sells Best, Stories or Stats?
Do this: Write down the word ―baby.‖
Now, how does that word make you feel?
Try it with another baggage-friendly word like ―family‖ or ―war.‖ Or any other
phrase that gets your inner emotional stew simmering.
Done? Good. No, dear reader, you haven‘t stumbled into a 1970′s sensitivity
training group.
There will be no hugs here. And no massaging your chakras (I mean, really… who
does that in public?)
Rather, I‘m just trying to warm you up for today‘s issue. See, I‘m reading ―Made
to Stick.‖ (Okay — listening to it as an audio book, during the morning run. But in
print or audio, I recommend you get a copy too.) And this morning, the book
gave me a shocker worth sharing.
So now that I‘ve got you ―primed‖ to receive (I‘ll explain what I mean in just a
second), let‘s begin…
Which Works Best, Stats or Stories?
Carnegie-Mellon, says the book, did a study. They invited participants in to take a
survey. The topic wasn‘t important — something about tech products — but what
mattered was the small payout. Each participant got paid with five $1 bills.
They also got an unexpected letter and an empty envelope. The letter asked for
donations for an international charity called ―Save the Children.‖ But different
groups got different letters.
One letter dripped with grim statistics. In one African country, it said, 3.2 million
stand on the brink of starvation. In another, 2.4 million have no easy access to
clean water. In a third, almost 4 million need emergency shelter. Each problem
was gigantic and serious.
Which Sells Best, Stories or Stats?
Do this: Write down the word ―baby.‖
Now, how does that word make you feel?
Try it with another baggage-friendly word like ―family‖ or ―war.‖ Or any other
phrase that gets your inner emotional stew simmering.
Done? Good. No, dear reader, you haven‘t stumbled into a 1970′s sensitivity
training group.
There will be no hugs here. And no massaging your chakras (I mean, really… who
does that in public?)
Rather, I‘m just trying to warm you up for today‘s issue. See, I‘m reading ―Made
to Stick.‖ (Okay — listening to it as an audio book, during the morning run. But in
print or audio, I recommend you get a copy too.) And this morning, the book
gave me a shocker worth sharing.
So now that I‘ve got you ―primed‖ to receive (I‘ll explain what I mean in just a
second), let‘s begin…
Which Works Best, Stats or Stories?
Carnegie-Mellon, says the book, did a study. They invited participants in to take a
survey. The topic wasn‘t important — something about tech products — but what
mattered was the small payout. Each participant got paid with five $1 bills.
They also got an unexpected letter and an empty envelope. The letter asked for
donations for an international charity called ―Save the Children.‖ But different
groups got different letters.
One letter dripped with grim statistics. In one African country, it said, 3.2 million
stand on the brink of starvation. In another, 2.4 million have no easy access to
clean water. In a third, almost 4 million need emergency shelter. Each problem
was gigantic and serious.
www.ProCopyWritingTactics.com
The second letter had only a story. ―Rokia,‖ it said, ―is a 7-year-old girl from Mali,
Africa. She‘s desperately poor and faces a threat of severe hunger or even
starvation. Her life will be changed for the better as a result of your financial gift.
With your support, and the support of other caring sponsors, Save the Children
will work with Rokia‘s family and other members of the community to help feed
her, provide her with education, as well as basic medical care and hygiene
education.‖
Which worked better?
Now, dear reader, I know your momma raised no dummies. You‘re going to tell
me that the Rokia letter cleaned up. And you‘d be right.
On average, Rokia‘s letter took in $2.38 in donations from the test group. The
stat-soaked letter took in only an average of $1.14. But that‘s not the big
surprise, is it? No, of course not. (What kind of storyteller do you think I am, after
all?)
See, the study didn‘t stop there…
How Less Really Can Mean a Lot More
The researchers then called in a third group. You‘ll get paid for taking this survey,
they said again.
Only this time, instead of giving the participants only one letter with their cash —
everybody got both the story AND the stats together.
Great, you might say.
Heart AND head. A real one-two punch. Wouldn‘t that net you both the bleeding
hearts and the brainiacs, all in one sweep?
As it turns out, no.
Not only did combining both approaches fail to gas up the giving engines… it
doused the pitch-power of the story-only approach with ice water.
The combo group, on average, gave almost a dollar LESS than the story-only
group alone.
Just $1.43.
The second letter had only a story. ―Rokia,‖ it said, ―is a 7-year-old girl from Mali,
Africa. She‘s desperately poor and faces a threat of severe hunger or even
starvation. Her life will be changed for the better as a result of your financial gift.
With your support, and the support of other caring sponsors, Save the Children
will work with Rokia‘s family and other members of the community to help feed
her, provide her with education, as well as basic medical care and hygiene
education.‖
Which worked better?
Now, dear reader, I know your momma raised no dummies. You‘re going to tell
me that the Rokia letter cleaned up. And you‘d be right.
On average, Rokia‘s letter took in $2.38 in donations from the test group. The
stat-soaked letter took in only an average of $1.14. But that‘s not the big
surprise, is it? No, of course not. (What kind of storyteller do you think I am, after
all?)
See, the study didn‘t stop there…
How Less Really Can Mean a Lot More
The researchers then called in a third group. You‘ll get paid for taking this survey,
they said again.
Only this time, instead of giving the participants only one letter with their cash —
everybody got both the story AND the stats together.
Great, you might say.
Heart AND head. A real one-two punch. Wouldn‘t that net you both the bleeding
hearts and the brainiacs, all in one sweep?
As it turns out, no.
Not only did combining both approaches fail to gas up the giving engines… it
doused the pitch-power of the story-only approach with ice water.
The combo group, on average, gave almost a dollar LESS than the story-only
group alone.
Just $1.43.
www.ProCopyWritingTactics.com
Isn‘t that amazing?
I thought so.
But even more amazing was the last part of the experiment. This time, just to
make sure of their conclusion, the researchers invited in a fourth group.
This time everybody would only get the stronger Rokia letter. But beforehand,
they would complete an exercise.
Half the group would finish some simple math problems. The other half would
answer a word challenge like the one I gave you at the start of this issue: Give
word, write down feelings.
What happened?
Incredibly, the group that got ―primed‖ with the emotional exercise gave an
almost equal $2.34… but the analytically ―primed‖ group AGAIN gave less, for an
average of just $1.26.
These were unrelated calculations. But somehow just putting on a thinking cap
was working like one of those tinfoil hats that crackpots wear to block out alien
mind-reading waves (I‘ve got to get me one of those).
Nearest the researchers could figure is that, while analytical thinking can shore up
beliefs or activate a reader‘s capacity for focus, it actually stymies action.
To get someone to act, they need to go beyond beliefs to the feelings they HOLD
about those beliefs. Feelings inspire action.
And I don‘t just mean that in the ―touchy-feely let‘s all hug a kitten and light a
vanilla candle‖ kind of way. All persuasion works best when it focuses most on
core emotions, not cerebral abstractions. I know this charity, ―Save the Children,‖
pretty well by the way. My wife and I have a Danish friend who works for them.
She‘s a talented photographer.
Isn‘t that amazing?
I thought so.
But even more amazing was the last part of the experiment. This time, just to
make sure of their conclusion, the researchers invited in a fourth group.
This time everybody would only get the stronger Rokia letter. But beforehand,
they would complete an exercise.
Half the group would finish some simple math problems. The other half would
answer a word challenge like the one I gave you at the start of this issue: Give
word, write down feelings.
What happened?
Incredibly, the group that got ―primed‖ with the emotional exercise gave an
almost equal $2.34… but the analytically ―primed‖ group AGAIN gave less, for an
average of just $1.26.
These were unrelated calculations. But somehow just putting on a thinking cap
was working like one of those tinfoil hats that crackpots wear to block out alien
mind-reading waves (I‘ve got to get me one of those).
Nearest the researchers could figure is that, while analytical thinking can shore up
beliefs or activate a reader‘s capacity for focus, it actually stymies action.
To get someone to act, they need to go beyond beliefs to the feelings they HOLD
about those beliefs. Feelings inspire action.
And I don‘t just mean that in the ―touchy-feely let‘s all hug a kitten and light a
vanilla candle‖ kind of way. All persuasion works best when it focuses most on
core emotions, not cerebral abstractions. I know this charity, ―Save the Children,‖
pretty well by the way. My wife and I have a Danish friend who works for them.
She‘s a talented photographer.
www.ProCopyWritingTactics.com
Whenever there‘s a crisis, her boss dips into the funds and puts our friend and
her camera on a plane. Burned out post-war zones, post-tsunami and typhoon
disaster areas, dirt poor African villages — she‘s been there, capturing a personal,
eyewitness view.
Why?
Because in the charities well-tested experience, those individual on-the-scene
images raise more money than a boatload of shocking statistics ever could.
I know that I‘m going to try to work more of the ―story of one‖ effect into my
future promos. Maybe you should too.
JOHN FORDE‘s copy has made untold millions for clients in the financial, health,
and travel industries. And he‘s also personally trained dozens of other now-
successful writers and mentored many million-dollar controls.
John is also the proud recipient of the ―Ouzilly Award for Sterling Copy‖ and the
―2008 AWAI Copywriter of the Year‖ award as well as a 2009 ―Most Valuable
Player‖ award from Agora Financial Publishing.
John is also a published author and a favorite speaker at AWAI‘s FastTrack to
Success Copywriting Bootcamp. He currently divides his time between the U.S.
and Europe, with his wife and two young children.
John is also the founder and editor of the weekly industry e-letter,The
Copywriter‘s Roundtable, considered by many to be one of the best in the
industry (http://www.copywritersroundtable.com).
Professional Writers’ Alliance EXCLUSIVE: John takes us behind the scenes of
a winning control in ―First to Final‖: The Evolution of a Successful Sales Letter.
A lot of new writers think professional writers simply sit down at a typewriter and
pump out winning copy effortlessly, time after time. They wish that were the
case…
Whenever there‘s a crisis, her boss dips into the funds and puts our friend and
her camera on a plane. Burned out post-war zones, post-tsunami and typhoon
disaster areas, dirt poor African villages — she‘s been there, capturing a personal,
eyewitness view.
Why?
Because in the charities well-tested experience, those individual on-the-scene
images raise more money than a boatload of shocking statistics ever could.
I know that I‘m going to try to work more of the ―story of one‖ effect into my
future promos. Maybe you should too.
JOHN FORDE‘s copy has made untold millions for clients in the financial, health,
and travel industries. And he‘s also personally trained dozens of other now-
successful writers and mentored many million-dollar controls.
John is also the proud recipient of the ―Ouzilly Award for Sterling Copy‖ and the
―2008 AWAI Copywriter of the Year‖ award as well as a 2009 ―Most Valuable
Player‖ award from Agora Financial Publishing.
John is also a published author and a favorite speaker at AWAI‘s FastTrack to
Success Copywriting Bootcamp. He currently divides his time between the U.S.
and Europe, with his wife and two young children.
John is also the founder and editor of the weekly industry e-letter,The
Copywriter‘s Roundtable, considered by many to be one of the best in the
industry (http://www.copywritersroundtable.com).
Professional Writers’ Alliance EXCLUSIVE: John takes us behind the scenes of
a winning control in ―First to Final‖: The Evolution of a Successful Sales Letter.
A lot of new writers think professional writers simply sit down at a typewriter and
pump out winning copy effortlessly, time after time. They wish that were the
case…
www.ProCopyWritingTactics.com
In reality, every writer has a first draft he or she most likely would rather forget.
But, it's the process from that shaky first draft to the final product where so many
writing and selling lessons are learned. Which is why we'll be asking top writers
like John to share this experience with you – by taking you from first to final draft
– and telling you about everything in between.
Is Your Customer Too Paralyzed By Worry to Hear Your
Message? Here's What to Do…
"An undefined problem has an
infinite number of solutions."
Robert Humphrey
What keeps your customer up at night?
When he sits on his bed, one shoe on and staring out the window… what's he
thinking about?
When he looks in the mirror, half-shaved… when she dials the doctor… when the
mail comes, marked urgent…
What sound buzzes between your prospect's ears, so loud that your sales pitch
drowns in the din?
Could it be the un-payable bill… the unruly child… the rosy red zit on the tip of his
nose… or the gray hair she found this morning?
Maybe it's a nagging ache… or last night's awkward date. Maybe it's a car that
pings when it shouldn't… or a job in a cubicle that's going nowhere.
Heck, maybe it's all those unreadable road signs dotting the path to total
enlightenment.
If you're not sure, maybe it's high time you find out. And today, I hope to show
you why…
In reality, every writer has a first draft he or she most likely would rather forget.
But, it's the process from that shaky first draft to the final product where so many
writing and selling lessons are learned. Which is why we'll be asking top writers
like John to share this experience with you – by taking you from first to final draft
– and telling you about everything in between.
Is Your Customer Too Paralyzed By Worry to Hear Your
Message? Here's What to Do…
"An undefined problem has an
infinite number of solutions."
Robert Humphrey
What keeps your customer up at night?
When he sits on his bed, one shoe on and staring out the window… what's he
thinking about?
When he looks in the mirror, half-shaved… when she dials the doctor… when the
mail comes, marked urgent…
What sound buzzes between your prospect's ears, so loud that your sales pitch
drowns in the din?
Could it be the un-payable bill… the unruly child… the rosy red zit on the tip of his
nose… or the gray hair she found this morning?
Maybe it's a nagging ache… or last night's awkward date. Maybe it's a car that
pings when it shouldn't… or a job in a cubicle that's going nowhere.
Heck, maybe it's all those unreadable road signs dotting the path to total
enlightenment.
If you're not sure, maybe it's high time you find out. And today, I hope to show
you why…
www.ProCopyWritingTactics.com
How to Unlock a Worried Mind
While you watch, I'd like to do some deep thinking on a concept I'm sure you're
familiar with, called the "problem-solution lead."
This, I'll bet you can gather, is the persuasion technique where you identify a
prospect's problem… then imply you've got a quick and painless way to solve it.
If you study advertising at all, you've seen this at work many, many times.
For instance, the ol' classic "Are you ever tongue-tied at a party?" is just one of
many blockbuster examples.
It was a hit because it identified an emotionally drenched issue… the fear of
knowing what to say in a social situation… and implied, just by the asking, that
there's a way to escape that embarrassment.
Another great headline, "Do you make these mistakes in English?" works almost
the same way. Yes, say the grammar-challenged, I might make some mistakes
and I worry about that. And what makes this opener even stronger is that it
implies you're probably making more than one mistake, too. It ups the ante
before also implying there's a solution.
Of course, not all great problem-solution headlines have to be stated as
questions.
"When doctors 'feel rotten' this is what they do" is a great example. For one, this
is a rare example where being general about the problem works – because it's the
unidentifiable aspect of simply 'feeling rotten' that's at the core of the worry.
What's also brilliant about this one is that it's not only sympathetic – just 'feeling
rotten' is a common worry – but that the doctors who know what you're going
through are also the source of the solution.
And all that happens in just nine words.
Though, for all their differences, you'll still find that these and all great problem-
solution headlines and leads track pretty much the same formula.
How to Unlock a Worried Mind
While you watch, I'd like to do some deep thinking on a concept I'm sure you're
familiar with, called the "problem-solution lead."
This, I'll bet you can gather, is the persuasion technique where you identify a
prospect's problem… then imply you've got a quick and painless way to solve it.
If you study advertising at all, you've seen this at work many, many times.
For instance, the ol' classic "Are you ever tongue-tied at a party?" is just one of
many blockbuster examples.
It was a hit because it identified an emotionally drenched issue… the fear of
knowing what to say in a social situation… and implied, just by the asking, that
there's a way to escape that embarrassment.
Another great headline, "Do you make these mistakes in English?" works almost
the same way. Yes, say the grammar-challenged, I might make some mistakes
and I worry about that. And what makes this opener even stronger is that it
implies you're probably making more than one mistake, too. It ups the ante
before also implying there's a solution.
Of course, not all great problem-solution headlines have to be stated as
questions.
"When doctors 'feel rotten' this is what they do" is a great example. For one, this
is a rare example where being general about the problem works – because it's the
unidentifiable aspect of simply 'feeling rotten' that's at the core of the worry.
What's also brilliant about this one is that it's not only sympathetic – just 'feeling
rotten' is a common worry – but that the doctors who know what you're going
through are also the source of the solution.
And all that happens in just nine words.
Though, for all their differences, you'll still find that these and all great problem-
solution headlines and leads track pretty much the same formula.
www.ProCopyWritingTactics.com
First, set aside your big benefit. Make it time to talk about the reader, and let him
or her know you're doing it… by giving a name to the elephant in the room. It
could be a big problem; it could be one that's embarrassingly small. The key is
that it's deeply felt and emotionally unresolved.
Feel their pain. Let them know it. And let them feel justified for feeling that way,
too. Never mock or make light of their worries, unless you're laughing with them
at the awkwardness of feeling a certain way – as a means to drawing the problem
out in the open.
Then imply a solution. Either by saying or showing outright that you've got the
answer… or by hinting a solution exists. Even just seeing lots of copy below a
"have-this-problem" headline could suggest as much.
What Else Works in Problem -Solution Headlines?
Simple as they are, there are lots of random secrets to making a problem-
solution copy lead work.
Stick with me while I work them out:
If you identify the prospect's problem with a question-based headline,
naturally you're gunning for a "yes" answer or anything else that opens
rather than closes the door on a discussion.
What are some other great problem-solution headlines that you might
recognize?
From a famous book club ad: "How often do you hear yourself saying
'No, I haven't read it – I've been meaning to!"
From a parenting-product ad that uses the open-question technique:
"Whose fault when children disobey?"
From a pre-Prozac era drug ad that broke ground by inventing a name
for a condition: "Have you these symptoms of 'nerve exhaustion?'"
An old investing ad that might resonate today: "Have you a 'worry'
stock?"
A classic non-question example that I'll bet still gets your psyche to
vibrate: "To people who want to write – but can't get started"
And two more that state, not ask – in both, it's in seeing the ad copy
below that a solution is implied: "Little Leaks That Keep Men Poor"
and "Always a bridesmaid, never a bride… "
One more bonus example: "For the woman who is older than she
looks… "
First, set aside your big benefit. Make it time to talk about the reader, and let him
or her know you're doing it… by giving a name to the elephant in the room. It
could be a big problem; it could be one that's embarrassingly small. The key is
that it's deeply felt and emotionally unresolved.
Feel their pain. Let them know it. And let them feel justified for feeling that way,
too. Never mock or make light of their worries, unless you're laughing with them
at the awkwardness of feeling a certain way – as a means to drawing the problem
out in the open.
Then imply a solution. Either by saying or showing outright that you've got the
answer… or by hinting a solution exists. Even just seeing lots of copy below a
"have-this-problem" headline could suggest as much.
What Else Works in Problem -Solution Headlines?
Simple as they are, there are lots of random secrets to making a problem-
solution copy lead work.
Stick with me while I work them out:
If you identify the prospect's problem with a question-based headline,
naturally you're gunning for a "yes" answer or anything else that opens
rather than closes the door on a discussion.
What are some other great problem-solution headlines that you might
recognize?
From a famous book club ad: "How often do you hear yourself saying
'No, I haven't read it – I've been meaning to!"
From a parenting-product ad that uses the open-question technique:
"Whose fault when children disobey?"
From a pre-Prozac era drug ad that broke ground by inventing a name
for a condition: "Have you these symptoms of 'nerve exhaustion?'"
An old investing ad that might resonate today: "Have you a 'worry'
stock?"
A classic non-question example that I'll bet still gets your psyche to
vibrate: "To people who want to write – but can't get started"
And two more that state, not ask – in both, it's in seeing the ad copy
below that a solution is implied: "Little Leaks That Keep Men Poor"
and "Always a bridesmaid, never a bride… "
One more bonus example: "For the woman who is older than she
looks… "
www.ProCopyWritingTactics.com
Here's a great quote about advertising in general that applies especially well
here: "You're not selling, you're solving."
What works isn't targeting gigantic problems. Rather, you want to aim for
the one that's most deeply felt and persistent. Emotional engagement is
always the key.
The best solution isn't always the biggest, either. Usually, it's the easiest,
the cheapest, the fastest, the most widely accepted, the most precious… or
some combination of the above.
While every problem-solution lead needs to offer answers, you're always
keeping something back until after you've made the sale.
That hidden thing might be the name of the solution itself. Or it might be a
last or most essential step that you'll reveal for a price. It might even be
something you promise never to share, like a secret ingredient or formula.
If you claim to have answers, you'll need proof. Some of the problem-
solution ads do that with the "before-and-after" setup you see so often in
ads for all kinds of health products.
You could even say testimonials – either quotes, success anecdotes, or
customer profiles – are some of the most powerful kinds of proof any
problem-solution ad can give.
The reason why testimonials work so well in a problem-solution ad is not
just because they show a solution in action, but because they also do the "I
feel your pain" work that's special to this kind of lead.
If you've got kids or you're married, you've got yet another angle from
which to get how problem-solution ads work – all too often, people want to
make sure their concerns are being heard and are regarded as legit. Only
then do they open up to hearing about how to fix things.
Another reason problem-solution headlines work? Humans are just hard-
wired to fix stuff. Even problems we don't have ourselves, we want to be
the smart guy in the room who knows what to do. At least, that's going to
be true of some of the prospects you'll draw in.
I could say much more. And believe me, I will at AWAI‘s upcoming Bootcamp.
For now, let's leave it at this:
If you find yourself writing to a prospect that's so focused on his problems he
can't quite hear your promises… this could be the way out that you're looking for.
Let him know you hear what he's worried about. Give it a name. Justify it. And
THEN watch doors open to your solution.
Here's a great quote about advertising in general that applies especially well
here: "You're not selling, you're solving."
What works isn't targeting gigantic problems. Rather, you want to aim for
the one that's most deeply felt and persistent. Emotional engagement is
always the key.
The best solution isn't always the biggest, either. Usually, it's the easiest,
the cheapest, the fastest, the most widely accepted, the most precious… or
some combination of the above.
While every problem-solution lead needs to offer answers, you're always
keeping something back until after you've made the sale.
That hidden thing might be the name of the solution itself. Or it might be a
last or most essential step that you'll reveal for a price. It might even be
something you promise never to share, like a secret ingredient or formula.
If you claim to have answers, you'll need proof. Some of the problem-
solution ads do that with the "before-and-after" setup you see so often in
ads for all kinds of health products.
You could even say testimonials – either quotes, success anecdotes, or
customer profiles – are some of the most powerful kinds of proof any
problem-solution ad can give.
The reason why testimonials work so well in a problem-solution ad is not
just because they show a solution in action, but because they also do the "I
feel your pain" work that's special to this kind of lead.
If you've got kids or you're married, you've got yet another angle from
which to get how problem-solution ads work – all too often, people want to
make sure their concerns are being heard and are regarded as legit. Only
then do they open up to hearing about how to fix things.
Another reason problem-solution headlines work? Humans are just hard-
wired to fix stuff. Even problems we don't have ourselves, we want to be
the smart guy in the room who knows what to do. At least, that's going to
be true of some of the prospects you'll draw in.
I could say much more. And believe me, I will at AWAI‘s upcoming Bootcamp.
For now, let's leave it at this:
If you find yourself writing to a prospect that's so focused on his problems he
can't quite hear your promises… this could be the way out that you're looking for.
Let him know you hear what he's worried about. Give it a name. Justify it. And
THEN watch doors open to your solution.
www.ProCopyWritingTactics.com
10 “Speed-Copy” Secrets
The better you get at writing good copy, the more clients will want access to your
time.
In the beginning, you‘ll want to give it to them.
But as time goes by, you won‘t be able to.
You‘ll try to cherry pick projects, taking on only those that won‘t bog you down
disproportionately to what you‘ll get in return.
But what happens when you have no other choice than to just… write… faster?
You can try these tips…
1. Really DO Cherry-Pick Projects
It‘s great to be eager.
But you‘ll find there really are some copywriting jobs that just aren‘t worth
it. Which ones? Be wary, for instance, of poorly baked products with no
clear audience or no clear benefit for the audience they‘re meant to target.
Likewise, look out for projects without a passionate champion on the client
side. If there‘s nobody who can sell you on what you‘re supposed to be
selling, there‘s a good chance you‘ll have a hard time selling it to prospects,
too.
And finally, look out for projects that don‘t have at least 85% of the pieces
in place before you get started. Unless, that is, you‘re also being paid to
help develop the product… a different and more involved job than just
writing the sales letter.
10 “Speed-Copy” Secrets
The better you get at writing good copy, the more clients will want access to your
time.
In the beginning, you‘ll want to give it to them.
But as time goes by, you won‘t be able to.
You‘ll try to cherry pick projects, taking on only those that won‘t bog you down
disproportionately to what you‘ll get in return.
But what happens when you have no other choice than to just… write… faster?
You can try these tips…
1. Really DO Cherry-Pick Projects
It‘s great to be eager.
But you‘ll find there really are some copywriting jobs that just aren‘t worth
it. Which ones? Be wary, for instance, of poorly baked products with no
clear audience or no clear benefit for the audience they‘re meant to target.
Likewise, look out for projects without a passionate champion on the client
side. If there‘s nobody who can sell you on what you‘re supposed to be
selling, there‘s a good chance you‘ll have a hard time selling it to prospects,
too.
And finally, look out for projects that don‘t have at least 85% of the pieces
in place before you get started. Unless, that is, you‘re also being paid to
help develop the product… a different and more involved job than just
writing the sales letter.
www.ProCopyWritingTactics.com
2. Know Your Load
Four solid hours of writing, day in and day out, with rest of the day for calls,
meetings, and email is actually a pretty solid pace. Sure, one can go longer
when needed. But writing can be physically draining, if you‘re doing it right.
Copywriter Bob Bly once told me that, while he also logs only about four
hours on eachprojectper day, he stays fresh by keeping two projects going
at once and switching to four hours on the second project in the afternoon.
I‘ve tried that. And sometimes it works. But frankly, once I start working on
something – anything – I get too caught up in it to let it go. So I actively try
to avoid other projects until I‘ve got the first one completed.
Your style will be up to you.
3. Gather Your Resources, Part I
One of the best ways to accelerate the pace on any writing project is to feed
it the nourishment in needs to get started. That nourishment is information.
Read up, interview, discuss.
Call the most central figure for the product that the client can offer and do a
phone interview. Record it and start typing as you play it back. You‘ll need
other resources along the way. But this is where you‘ll need to begin, if you
want to make sure you burst out of the gate with as much power as
possible.
4. Build Your Framework
Once you‘ve got a grasp on the general direction you‘ll need to take in the
promo, you‘ll want – no, need – to make an outline. Too many early writers
skip this step. Many say they don‘t need it.
Yet, for all but a rare few, unstructured writing shows. The benefit of an
outline is that you know where you need to go. But you also know, as you
pile up research and ideas, where you DON‘T need to go.
And that‘s equally important.
2. Know Your Load
Four solid hours of writing, day in and day out, with rest of the day for calls,
meetings, and email is actually a pretty solid pace. Sure, one can go longer
when needed. But writing can be physically draining, if you‘re doing it right.
Copywriter Bob Bly once told me that, while he also logs only about four
hours on eachprojectper day, he stays fresh by keeping two projects going
at once and switching to four hours on the second project in the afternoon.
I‘ve tried that. And sometimes it works. But frankly, once I start working on
something – anything – I get too caught up in it to let it go. So I actively try
to avoid other projects until I‘ve got the first one completed.
Your style will be up to you.
3. Gather Your Resources, Part I
One of the best ways to accelerate the pace on any writing project is to feed
it the nourishment in needs to get started. That nourishment is information.
Read up, interview, discuss.
Call the most central figure for the product that the client can offer and do a
phone interview. Record it and start typing as you play it back. You‘ll need
other resources along the way. But this is where you‘ll need to begin, if you
want to make sure you burst out of the gate with as much power as
possible.
4. Build Your Framework
Once you‘ve got a grasp on the general direction you‘ll need to take in the
promo, you‘ll want – no, need – to make an outline. Too many early writers
skip this step. Many say they don‘t need it.
Yet, for all but a rare few, unstructured writing shows. The benefit of an
outline is that you know where you need to go. But you also know, as you
pile up research and ideas, where you DON‘T need to go.
And that‘s equally important.
www.ProCopyWritingTactics.com
5. Gather Your Resources, Part II
Once you‘ve pulled together a rough outline of where you‘re headed, you‘ll
immediately start to see the additional holes you‘ll need to fill.
Now it‘s time to go out again and start digging. Pile up links, magazine
clippings, notes from studying the product and the customer base. Notes
from talking to the client.
Just for the record, the research part of your copywriting process should
almost always take the most time. How much longer?
A fair breakdown, if you‘re working with a product you don‘t know well, is
about 50% of your total time available spent on research. And then 30% on
writing the first draft. Plus another 20% for polishing and revision.
6. Try Writing in 3D
You would think that writing the beginning first, the middle second, and the
end last would be the best way to go. And for many writers, that‘s precisely
the path the follow. However, I‘d personally recommend creating a writing
system that‘s a little more non-linear.
What do I mean?
Research, ideas, phrases… tend to arrive in a disorderly fashion, just like a
conversation that leaps from one topic to another entirely.
So what I do is write in sections. I actually create separate, labeled parts of
my file in Word. These sections match my outline or ―mind-map‖ of the
message I‘d like to deliver.
Then, as I research and revise, I jump back and forth between sections,
adding to one, tightening another, copying and moving pieces of ideas.
Each area fleshes out at roughly the same time, then I reorganize them to
fit the more logical, linear outline that will underlie the final piece.
5. Gather Your Resources, Part II
Once you‘ve pulled together a rough outline of where you‘re headed, you‘ll
immediately start to see the additional holes you‘ll need to fill.
Now it‘s time to go out again and start digging. Pile up links, magazine
clippings, notes from studying the product and the customer base. Notes
from talking to the client.
Just for the record, the research part of your copywriting process should
almost always take the most time. How much longer?
A fair breakdown, if you‘re working with a product you don‘t know well, is
about 50% of your total time available spent on research. And then 30% on
writing the first draft. Plus another 20% for polishing and revision.
6. Try Writing in 3D
You would think that writing the beginning first, the middle second, and the
end last would be the best way to go. And for many writers, that‘s precisely
the path the follow. However, I‘d personally recommend creating a writing
system that‘s a little more non-linear.
What do I mean?
Research, ideas, phrases… tend to arrive in a disorderly fashion, just like a
conversation that leaps from one topic to another entirely.
So what I do is write in sections. I actually create separate, labeled parts of
my file in Word. These sections match my outline or ―mind-map‖ of the
message I‘d like to deliver.
Then, as I research and revise, I jump back and forth between sections,
adding to one, tightening another, copying and moving pieces of ideas.
Each area fleshes out at roughly the same time, then I reorganize them to
fit the more logical, linear outline that will underlie the final piece.
www.ProCopyWritingTactics.com
7. Write Your Close First
Here‘s an interesting idea – start at the end. And I can give you at least two
solid reasons to do this.
First, because the offer you write will, word for word, have more impact on
the prospect than any other section of the promo – save for the headline
and lead. If the offer stinks, you haven‘t got a chance no matter how
brilliant your copywriting.
Second, because knowing specifically how you‘ll close the sale gives you a
target to shoot for. This, too, is a great defense against the tangents that
can knock you off the trail of your sales message all too easily.
8. Give Your Lead Room to Breathe
I know perfectionism is a killer problem for a lot of new writers. Get over
that. Really.
Why?
Because you‘ll kill yourself and your career trying to get the right word line-
by-line. Especially when you sacrifice writing the bulk of the rest of that
promo while you tinker and tinker… and tinker… with the lead.
Here‘s an alternate idea… put the headline and lead copy in a separate
document or somehow cordoned off from the rest of your promo. Open that
alternate writing area whenever you‘re working on the main document.
Whenever you have an idea about how to make the lead stronger, dip into
that alternate writing window, make the changes and then jump back to the
rest of the piece.
I do this a dozen or more times while I‘m writing, with the headline and
lead changing 10… 20… or more times before I‘m through.
7. Write Your Close First
Here‘s an interesting idea – start at the end. And I can give you at least two
solid reasons to do this.
First, because the offer you write will, word for word, have more impact on
the prospect than any other section of the promo – save for the headline
and lead. If the offer stinks, you haven‘t got a chance no matter how
brilliant your copywriting.
Second, because knowing specifically how you‘ll close the sale gives you a
target to shoot for. This, too, is a great defense against the tangents that
can knock you off the trail of your sales message all too easily.
8. Give Your Lead Room to Breathe
I know perfectionism is a killer problem for a lot of new writers. Get over
that. Really.
Why?
Because you‘ll kill yourself and your career trying to get the right word line-
by-line. Especially when you sacrifice writing the bulk of the rest of that
promo while you tinker and tinker… and tinker… with the lead.
Here‘s an alternate idea… put the headline and lead copy in a separate
document or somehow cordoned off from the rest of your promo. Open that
alternate writing area whenever you‘re working on the main document.
Whenever you have an idea about how to make the lead stronger, dip into
that alternate writing window, make the changes and then jump back to the
rest of the piece.
I do this a dozen or more times while I‘m writing, with the headline and
lead changing 10… 20… or more times before I‘m through.
www.ProCopyWritingTactics.com
9. Learn to “Copyify” Your Notes As You Research
This takes practice. But you‘ll write your copy much faster if, when you take
notes from resources you‘ll use, you record the notes directly into
copywritten form.
For instance, not ―Mention last year‘s booming commodity market to
support resource buying op‖… but rather ―Last year‘s booming commodities
market is the perfect example. Had you subscribed to my ‗Dirt, Rocks, and
Other Investments‘ advisory service then, you‘d already be up XXX% on
Mud Futures alone by now.‖
You get the picture.
If you can record your ideas quickly in a form that‘s close to the sound
you‘ll want for the final draft, obviously that cuts back future writing time.
10. Use Markers and Shortcuts
This last one is a small thing. But very, very handy.
Let‘s say you‘re writing and you need to cite a stat you don‘t have at your
fingertips, try just dropping in ―XX‖ where that falls.
Or let‘s say you need a subhead to transition between sections but the
perfect one escapes you at the moment. Don‘t get stuck. Instead, drop in
―[SUBHEAD HERE]‖ and keep moving.
The idea is to preserve the momentum at all costs. Just make sure you
search the replacement phrases and fill things in after the writing is done.
This list could go on, of course. But that‘s a pretty good start.
John Forde will be sharing the secrets that have made him a modern day
copywriting legend at the AWAI 2011 Bootcamp and Job Fair
9. Learn to “Copyify” Your Notes As You Research
This takes practice. But you‘ll write your copy much faster if, when you take
notes from resources you‘ll use, you record the notes directly into
copywritten form.
For instance, not ―Mention last year‘s booming commodity market to
support resource buying op‖… but rather ―Last year‘s booming commodities
market is the perfect example. Had you subscribed to my ‗Dirt, Rocks, and
Other Investments‘ advisory service then, you‘d already be up XXX% on
Mud Futures alone by now.‖
You get the picture.
If you can record your ideas quickly in a form that‘s close to the sound
you‘ll want for the final draft, obviously that cuts back future writing time.
10. Use Markers and Shortcuts
This last one is a small thing. But very, very handy.
Let‘s say you‘re writing and you need to cite a stat you don‘t have at your
fingertips, try just dropping in ―XX‖ where that falls.
Or let‘s say you need a subhead to transition between sections but the
perfect one escapes you at the moment. Don‘t get stuck. Instead, drop in
―[SUBHEAD HERE]‖ and keep moving.
The idea is to preserve the momentum at all costs. Just make sure you
search the replacement phrases and fill things in after the writing is done.
This list could go on, of course. But that‘s a pretty good start.
John Forde will be sharing the secrets that have made him a modern day
copywriting legend at the AWAI 2011 Bootcamp and Job Fair
www.ProCopyWritingTactics.com
Is Copywriting the World ’s Best Business?
“I used to work in a fire hydrant factory.
You couldn‘t park anywhere near the place.‖
Steven Wright
You‘ve heard about the oldest profession. And I‘m guessing you know the
toughest, too (parenting).
What‘s the most dangerous? Fishing, believe it or not. Along with logging and
flying airplanes.
The worst pay, alas, goes to dishwashers and fry cooks, who scrape the bottom of
the income barrel.
If you‘d rather earn the big bucks, says a Forbes survey, you‘re better off learning
to knock people out.
No, not as a boxer – as an anesthesiologist.
Heart surgeons and OB/GYNs are also way up there, along with 11 other medical
careers, your average lawyer, CEOs, and even air traffic controllers.
But what could be the world‘s BEST business?
Dare I say it? Copywriting!
How to Spot the Best Business in the World
Yeah… I know what you‘re thinking.
How can I, a humble copywriter, dare to make that claim? After all, I‘ve yet to
perform a heart surgery or land a plane.
And I‘m a parent, yes, but just getting started. As for the world‘s oldest
profession – frankly, not for me. (I don‘t like the hours.)
In short, you could say my experience is limited.
Is Copywriting the World ’s Best Business?
“I used to work in a fire hydrant factory.
You couldn‘t park anywhere near the place.‖
Steven Wright
You‘ve heard about the oldest profession. And I‘m guessing you know the
toughest, too (parenting).
What‘s the most dangerous? Fishing, believe it or not. Along with logging and
flying airplanes.
The worst pay, alas, goes to dishwashers and fry cooks, who scrape the bottom of
the income barrel.
If you‘d rather earn the big bucks, says a Forbes survey, you‘re better off learning
to knock people out.
No, not as a boxer – as an anesthesiologist.
Heart surgeons and OB/GYNs are also way up there, along with 11 other medical
careers, your average lawyer, CEOs, and even air traffic controllers.
But what could be the world‘s BEST business?
Dare I say it? Copywriting!
How to Spot the Best Business in the World
Yeah… I know what you‘re thinking.
How can I, a humble copywriter, dare to make that claim? After all, I‘ve yet to
perform a heart surgery or land a plane.
And I‘m a parent, yes, but just getting started. As for the world‘s oldest
profession – frankly, not for me. (I don‘t like the hours.)
In short, you could say my experience is limited.
www.ProCopyWritingTactics.com
However, I recently stumbled across a classic essay that has me convinced I‘m
right.
It‘s titled ―The Ideal Business,‖ and it was written way back in the 1970s by
legendary financial guru, Richard Russell.
(Just as an aside, you may have heard about Richard. He‘s been writing and
publishing his ―Dow Theory Letters‖ since 1958. And he‘s contributed to all the
major magazines. He recently celebrated his 85th birthday and he‘s still going
strong.)
No, he wasn‘t writing about copywriting specifically. Frankly, the copywriting we
do – in the manner we do it, remotely with a laptop – wasn‘t even imagined as a
possibility back then.
But what Richard did do was run down a list of criteria that described exactly
what an ―ideal business‖ for anyone might be.
With kudos and thanks to Richard, let‘s just take a look at the list from a
copywriting perspective and see how it shakes out:
“Sells the World”– That is, it‘s not local, it‘s global. Now, I know lots of
copywriters get their start writing for local businesses. And it used to be you
had to dream of winning Fortune 500 clients to go global. Not so now,
thanks to the huge demand forInternet copy.
“Enjoys Inelastic Demand” – Meaning that people need it, almost no
matter what it costs. And with copy, that‘s true. Sure, they‘ll want to pay
you based on your success record and experience. But there‘s no question
businesses need copy to sell. If you don‘t advertise and do it well, you‘re
just building yourself a future cobweb colony.
“Cannot Be Easily Copied” – Richard was talking about patents and
copyrights in his essay. But you could at least make the comparison that
every great copywriter has a style, and every great headline leaves an
imprint. Sure, rip-offs happen. But it‘s the original ad writer who makes the
big money and enjoys a lot more job security.
However, I recently stumbled across a classic essay that has me convinced I‘m
right.
It‘s titled ―The Ideal Business,‖ and it was written way back in the 1970s by
legendary financial guru, Richard Russell.
(Just as an aside, you may have heard about Richard. He‘s been writing and
publishing his ―Dow Theory Letters‖ since 1958. And he‘s contributed to all the
major magazines. He recently celebrated his 85th birthday and he‘s still going
strong.)
No, he wasn‘t writing about copywriting specifically. Frankly, the copywriting we
do – in the manner we do it, remotely with a laptop – wasn‘t even imagined as a
possibility back then.
But what Richard did do was run down a list of criteria that described exactly
what an ―ideal business‖ for anyone might be.
With kudos and thanks to Richard, let‘s just take a look at the list from a
copywriting perspective and see how it shakes out:
“Sells the World”– That is, it‘s not local, it‘s global. Now, I know lots of
copywriters get their start writing for local businesses. And it used to be you
had to dream of winning Fortune 500 clients to go global. Not so now,
thanks to the huge demand forInternet copy.
“Enjoys Inelastic Demand” – Meaning that people need it, almost no
matter what it costs. And with copy, that‘s true. Sure, they‘ll want to pay
you based on your success record and experience. But there‘s no question
businesses need copy to sell. If you don‘t advertise and do it well, you‘re
just building yourself a future cobweb colony.
“Cannot Be Easily Copied” – Richard was talking about patents and
copyrights in his essay. But you could at least make the comparison that
every great copywriter has a style, and every great headline leaves an
imprint. Sure, rip-offs happen. But it‘s the original ad writer who makes the
big money and enjoys a lot more job security.
www.ProCopyWritingTactics.com
“Has Low Labor and Overhead Costs” – In other words, to run a
freelance copywriting business, you don‘t need employees. And you don‘t
need a warehouse or expensive heavy machinery (unles s, er, you‘re a VERY
specialized kind of writer I‘ve never heard of). All you need is a laptop and
something to sell. And coffee.
“Takes in Cash Billings”– Freelancers might have to work out payment
differences with new clients, but steady clients usually pay on time. And you
know you‘re usually getting half your fee up front and half when you‘ve
done the work. Plus royalties, if you‘re in a copywriting field that earns
them. (I am, and it‘s nice to know you‘ve got a stream of royalties coming
in, especially when they start layering on top of each other.)
“Is Free of All Kinds of Regulation”– That‘s definitely NOT true when it
comes to what you can say in the ad copy you‘ll write. Laws can box you in,
and they can do it often. On the other hand, when you‘re working for
yourself, at least you don‘t have to sweat the rules on office safety
requirements. (Imagine suing yourself for getting your tie caught in your
own fax machine or burning yourself with your own coffee machine!)
“Is Portable”– I get asked a lot about how to set up as a copywriter in
Paris or any of the other places I‘ve been lucky enough to work for an
extended period (a London office, a New York City apartment, a French
country farmhouse, etc.). It‘s not always easy (those pesky laws again, the
challenge of long-distance clients, and the costs sometimes involved). But
as a copywriter, it can definitely be done. In fact, I can‘t imagine another
career – at least one that pays this well – being as moveable as this one.
“Satisfies Intellectual Needs”– I love what I do. Because I love ideas, I
love reading, and I love writing. I love learning things and then turning
them back around in my own words, while still trying to keep the topics
interesting. Of course, that‘s not for everybody. And if it‘s not for you, well,
consider anesthesiology (as a job, not a medical alternative to career
depression).
“Leaves You With Free Time” – Okay, I‘ve got to hedge my response on
this one. On the one hand, you‘ve got the freelancer‘s curse working against
“Has Low Labor and Overhead Costs” – In other words, to run a
freelance copywriting business, you don‘t need employees. And you don‘t
need a warehouse or expensive heavy machinery (unles s, er, you‘re a VERY
specialized kind of writer I‘ve never heard of). All you need is a laptop and
something to sell. And coffee.
“Takes in Cash Billings”– Freelancers might have to work out payment
differences with new clients, but steady clients usually pay on time. And you
know you‘re usually getting half your fee up front and half when you‘ve
done the work. Plus royalties, if you‘re in a copywriting field that earns
them. (I am, and it‘s nice to know you‘ve got a stream of royalties coming
in, especially when they start layering on top of each other.)
“Is Free of All Kinds of Regulation”– That‘s definitely NOT true when it
comes to what you can say in the ad copy you‘ll write. Laws can box you in,
and they can do it often. On the other hand, when you‘re working for
yourself, at least you don‘t have to sweat the rules on office safety
requirements. (Imagine suing yourself for getting your tie caught in your
own fax machine or burning yourself with your own coffee machine!)
“Is Portable”– I get asked a lot about how to set up as a copywriter in
Paris or any of the other places I‘ve been lucky enough to work for an
extended period (a London office, a New York City apartment, a French
country farmhouse, etc.). It‘s not always easy (those pesky laws again, the
challenge of long-distance clients, and the costs sometimes involved). But
as a copywriter, it can definitely be done. In fact, I can‘t imagine another
career – at least one that pays this well – being as moveable as this one.
“Satisfies Intellectual Needs”– I love what I do. Because I love ideas, I
love reading, and I love writing. I love learning things and then turning
them back around in my own words, while still trying to keep the topics
interesting. Of course, that‘s not for everybody. And if it‘s not for you, well,
consider anesthesiology (as a job, not a medical alternative to career
depression).
“Leaves You With Free Time” – Okay, I‘ve got to hedge my response on
this one. On the one hand, you‘ve got the freelancer‘s curse working against
www.ProCopyWritingTactics.com
you. When there‘s no whistle blowing, and your home is your office, it‘s
possible to work all the time. Plus, as a writer, ideas will creep into your
dinners, your walks, even the shower – and you‘ll dash to write them down.
On the other hand, I kind of like the energy of gears that churn on
autopilot.
Plus, while I may not have lots of free time, I‘m master of what I have and
how and when I decide to cash it in. Because my schedule is my own to
shuffle around (though the older I get, the more I‘m sure routine is the
secret to success).
“Is Not Limited By Personal Output” – Now here‘s the one where you
might think I‘ve hit a sandtrap. After all, some copywriters get paid
piecemeal, while others collect royalties. But that isn‘t what Richard meant.
At least, it‘s not the only thing. Ideally, it means you‘ve got the chance to
get paid exponentially for something you put effort into only one time. Like
an information product you can sell over and over again. And certainly, once
you‘ve figured out how to write copy that sells, that‘s an opportunity you‘ll
have no matter what else happens. Because selling is the key to virtually
every kind of repeat business there is.
Maybe you agree with Richard Russell‘s list, maybe you don‘t. Or maybe you‘re
still too new to this game to know, one way or the other.
As for me, I think he‘s hit pretty much all the key points. And by that measure, I
genuinely couldn‘t imagine a better way to butter my bread than what I‘m doing
right now (okay, maybe… maybe… some part-time work as a security guard in a
lingerie fitting room… or wine taster at one of Paris‘ best restaurants… but only if
they came with stock options and dental).
you. When there‘s no whistle blowing, and your home is your office, it‘s
possible to work all the time. Plus, as a writer, ideas will creep into your
dinners, your walks, even the shower – and you‘ll dash to write them down.
On the other hand, I kind of like the energy of gears that churn on
autopilot.
Plus, while I may not have lots of free time, I‘m master of what I have and
how and when I decide to cash it in. Because my schedule is my own to
shuffle around (though the older I get, the more I‘m sure routine is the
secret to success).
“Is Not Limited By Personal Output” – Now here‘s the one where you
might think I‘ve hit a sandtrap. After all, some copywriters get paid
piecemeal, while others collect royalties. But that isn‘t what Richard meant.
At least, it‘s not the only thing. Ideally, it means you‘ve got the chance to
get paid exponentially for something you put effort into only one time. Like
an information product you can sell over and over again. And certainly, once
you‘ve figured out how to write copy that sells, that‘s an opportunity you‘ll
have no matter what else happens. Because selling is the key to virtually
every kind of repeat business there is.
Maybe you agree with Richard Russell‘s list, maybe you don‘t. Or maybe you‘re
still too new to this game to know, one way or the other.
As for me, I think he‘s hit pretty much all the key points. And by that measure, I
genuinely couldn‘t imagine a better way to butter my bread than what I‘m doing
right now (okay, maybe… maybe… some part-time work as a security guard in a
lingerie fitting room… or wine taster at one of Paris‘ best restaurants… but only if
they came with stock options and dental).
www.ProCopyWritingTactics.com
The Next $100-Million Secret
How do you solve problems?
It can‘t be done, said American tycoon J.P. Morgan, without reducing the
challenge to its simplest form.
If you know stock market history, you know that Morgan solved a lot of big
problems in his day.
Twice, he rescued the entire U.S. economy. He helped build the railroads and Big
Steel.
And he managed to build, in today‘s terms, one of America‘s first billionaire
fortunes.
What would Morgan have said about the three hours I spent recently, as Michael
Masterson laid down the details of another simple truth?
I suspect he would have approved.
See, it‘s been a little over a week since I got back from AWAI‘s Annual Fast Track
to Copywriting Success Bootcamp. I was there as both a speaker and an
attendee.
I got to deliver a few secrets of my own. I took away plenty more. And what was
striking about the best of it was that one thread that ran through everything…
That the smartest things you‘ll do, in a copywriting career or in anything, are
often profoundly simple. Even obvious, if you‘re paying attention closely.
One of the simplest was something Michael calls the ―mini-review.‖ It has only
two steps. Three, if you‘re pushing it.
Yet I think I can make an educated guess when I say that, properly applied, this
one new technique could easily bring in about $100 million in sales for the
company that‘s already using it, under Michael‘s guidance.
The Next $100-Million Secret
How do you solve problems?
It can‘t be done, said American tycoon J.P. Morgan, without reducing the
challenge to its simplest form.
If you know stock market history, you know that Morgan solved a lot of big
problems in his day.
Twice, he rescued the entire U.S. economy. He helped build the railroads and Big
Steel.
And he managed to build, in today‘s terms, one of America‘s first billionaire
fortunes.
What would Morgan have said about the three hours I spent recently, as Michael
Masterson laid down the details of another simple truth?
I suspect he would have approved.
See, it‘s been a little over a week since I got back from AWAI‘s Annual Fast Track
to Copywriting Success Bootcamp. I was there as both a speaker and an
attendee.
I got to deliver a few secrets of my own. I took away plenty more. And what was
striking about the best of it was that one thread that ran through everything…
That the smartest things you‘ll do, in a copywriting career or in anything, are
often profoundly simple. Even obvious, if you‘re paying attention closely.
One of the simplest was something Michael calls the ―mini-review.‖ It has only
two steps. Three, if you‘re pushing it.
Yet I think I can make an educated guess when I say that, properly applied, this
one new technique could easily bring in about $100 million in sales for the
company that‘s already using it, under Michael‘s guidance.
www.ProCopyWritingTactics.com
To hit that target might take about three years. Maybe two. Or less, if it‘s applied
diligently.
What could I be talking about?
How the Mini-Review Works
Let‘s start with the background.
Writing copy, like many things, is part nature, part nurture. That is, it‘s certainly
possible that you‘re born with at least a little of what it takes to become
successful. But, just as much, there‘s plenty you can do to polish those skills.
And it‘s the polish that makes all the difference.
Trouble is, getting good enough at anything takes time. How long? As Michael‘s
observed in the past, you don‘t master anything without at least approximately
1,000 hours of practice under your belt.
With a strong mentor, you might cut that time by half. But 500 hours of hard
work still aren‘t small potatoes.
We start. We stop. We forget to get going again. Sticking to the accumulation of
experience isn‘t something that‘s going to happen for you accidentally.
So what Michael simply did, as it applies to writing ground-breaking copy, was
systematize the process.
And that‘s the secret of the ―mini-review.‖
Every day, you write. You start in the morning with a single piece of copy. Just the
headline and the lead. Maybe 50-100 words, tops.
It shouldn‘t take you long. In fact, the less time the better. Maybe 20-30 minutes
total.
And then, here‘s the key: you send it.
Email it to a regular review group of five or six people who you trust – preferably
those who know something about selling, marketing, and the product you‘re
talking about – to get a ―grade‖ on how they received it.
That‘s it. No long analysis. Just numbers, from 1 through 4, with the higher
number meaning a more powerful impac t on the reader.
To hit that target might take about three years. Maybe two. Or less, if it‘s applied
diligently.
What could I be talking about?
How the Mini-Review Works
Let‘s start with the background.
Writing copy, like many things, is part nature, part nurture. That is, it‘s certainly
possible that you‘re born with at least a little of what it takes to become
successful. But, just as much, there‘s plenty you can do to polish those skills.
And it‘s the polish that makes all the difference.
Trouble is, getting good enough at anything takes time. How long? As Michael‘s
observed in the past, you don‘t master anything without at least approximately
1,000 hours of practice under your belt.
With a strong mentor, you might cut that time by half. But 500 hours of hard
work still aren‘t small potatoes.
We start. We stop. We forget to get going again. Sticking to the accumulation of
experience isn‘t something that‘s going to happen for you accidentally.
So what Michael simply did, as it applies to writing ground-breaking copy, was
systematize the process.
And that‘s the secret of the ―mini-review.‖
Every day, you write. You start in the morning with a single piece of copy. Just the
headline and the lead. Maybe 50-100 words, tops.
It shouldn‘t take you long. In fact, the less time the better. Maybe 20-30 minutes
total.
And then, here‘s the key: you send it.
Email it to a regular review group of five or six people who you trust – preferably
those who know something about selling, marketing, and the product you‘re
talking about – to get a ―grade‖ on how they received it.
That‘s it. No long analysis. Just numbers, from 1 through 4, with the higher
number meaning a more powerful impac t on the reader.
www.ProCopyWritingTactics.com
So how on earth could something so basic be worth $100 million? It‘s new, so the
jury will have to wait to see.
But I believe it‘s going to happen for three reasons. First, because I‘ve seen
something nearly like it – Michael‘s ―peer review‖ – already pay off twice as large
as what I‘m estimating.
The ―peer review,‖ which you know if you‘ve been reading The Golden Thread
or following AWAI‘s teachings for long, is a way to get gut-reaction feedback and
suggestions on any piece of copy.
At least one of the companies using the peer review extensively happens to be a
company I also work with regularly. And so far we‘ve seen, just by adding this
simple tool to the copy production process, cumulative results easily in excess of
$200 million so far. And climbing.
The ―mini-review‖ process is even simpler. It takes just five minutes to do the
copy evaluations. But what it adds is a second reason to predict a big payoff:
quantity.
See, because using the ―mini-review‖ effectively means making it a daily habit,
you and the other participants are forced to keep revisiting what makes great
copy work. And on a regular, frequent basis.
Anyone who exercises or who has tried to learn, say, how to play the guitar or a
piano, knows how this works.
If you were to put in 10 hours in a single day doing pushups and skipping rope…
or practicing scales… what value would that have if you only did this once every
few weeks? Not much.
But do those same things for 15 minutes a day, every day, and what a talent
you‘ll have. And in very little time, by comparison. Practice does make perfect.
But frequent, short bursts of practice have a lot more value than infrequent, long,
and laborious ones.
So how on earth could something so basic be worth $100 million? It‘s new, so the
jury will have to wait to see.
But I believe it‘s going to happen for three reasons. First, because I‘ve seen
something nearly like it – Michael‘s ―peer review‖ – already pay off twice as large
as what I‘m estimating.
The ―peer review,‖ which you know if you‘ve been reading The Golden Thread
or following AWAI‘s teachings for long, is a way to get gut-reaction feedback and
suggestions on any piece of copy.
At least one of the companies using the peer review extensively happens to be a
company I also work with regularly. And so far we‘ve seen, just by adding this
simple tool to the copy production process, cumulative results easily in excess of
$200 million so far. And climbing.
The ―mini-review‖ process is even simpler. It takes just five minutes to do the
copy evaluations. But what it adds is a second reason to predict a big payoff:
quantity.
See, because using the ―mini-review‖ effectively means making it a daily habit,
you and the other participants are forced to keep revisiting what makes great
copy work. And on a regular, frequent basis.
Anyone who exercises or who has tried to learn, say, how to play the guitar or a
piano, knows how this works.
If you were to put in 10 hours in a single day doing pushups and skipping rope…
or practicing scales… what value would that have if you only did this once every
few weeks? Not much.
But do those same things for 15 minutes a day, every day, and what a talent
you‘ll have. And in very little time, by comparison. Practice does make perfect.
But frequent, short bursts of practice have a lot more value than infrequent, long,
and laborious ones.
www.ProCopyWritingTactics.com
Thirdly, I predict huge success for the ―mini-review‖ process simply because it
focuses directly and immediately on measuring quality.
Every ―mini-review‖ session leaves you with an instant ―score‖ on how well your
writing was received. A gut reaction, but quantified in a number.
When we tested the process during our three-hour demonstration session, we had
two writing sessions with six writers each.
In other words, in about an hour, we were able to create and review 12 pieces of
copy – each with a headline and lead.
That was at my table alone. And there were approximately 300 writers in the
room, all using this tool for the first time.
What was amazing was that, when we compared the scores each of these 300+
writers got after just two rounds of ―mini-reviews‖… by vast majority, the scores
were higher in the second round.
That means just by being evaluated once, the writers had a quality benchmark to
beat. A measure they knew they had to beat, along with some idea – and a lot of
determination – on how to beat it.
When you use the ―mini-review‖ daily, you get the same benefit. Each day that
you follow the process, you‘re competing with yourself and the other scores in
your review group. Each day, you‘ll have yesterday‘s score as your benchmark.
It‘s a practically painless way to sharpen your writing instincts.
Like J.P Morgan said at the start of this article, the greatest problems are often
solved simply.
“The changing of a vague difficulty into a specific, concrete form,‖ he once said,
―is an essential element in thinking.‖
Thirdly, I predict huge success for the ―mini-review‖ process simply because it
focuses directly and immediately on measuring quality.
Every ―mini-review‖ session leaves you with an instant ―score‖ on how well your
writing was received. A gut reaction, but quantified in a number.
When we tested the process during our three-hour demonstration session, we had
two writing sessions with six writers each.
In other words, in about an hour, we were able to create and review 12 pieces of
copy – each with a headline and lead.
That was at my table alone. And there were approximately 300 writers in the
room, all using this tool for the first time.
What was amazing was that, when we compared the scores each of these 300+
writers got after just two rounds of ―mini-reviews‖… by vast majority, the scores
were higher in the second round.
That means just by being evaluated once, the writers had a quality benchmark to
beat. A measure they knew they had to beat, along with some idea – and a lot of
determination – on how to beat it.
When you use the ―mini-review‖ daily, you get the same benefit. Each day that
you follow the process, you‘re competing with yourself and the other scores in
your review group. Each day, you‘ll have yesterday‘s score as your benchmark.
It‘s a practically painless way to sharpen your writing instincts.
Like J.P Morgan said at the start of this article, the greatest problems are often
solved simply.
“The changing of a vague difficulty into a specific, concrete form,‖ he once said,
―is an essential element in thinking.‖
www.ProCopyWritingTactics.com
The Power of the Foregone Conclusion
I‘m sure you‘ve seen the Miller Lite beer commercials over the years.
From retired boxers to women in bikinis, wrestling in a fountain. And we join the
situation in the middle of an escalating argument. What are they fighting about?
You know it, I know it, everybody knows it: ―TASTE‘S GREAT!‖… ―LESS FILLING!‖
On the one side, a dedicated Miller Lite drinker loves the beer‘s taste while he
claims it goes down easy without filling up.
In one recent, much-forwarded version on YouTube, the Miller Lite fans doing the
fighting are wet women in tight shirts rolling in water fountains. You might think
it‘s only the latter detail that kept this age-old ad slogan afloat. But is it possible
that‘s not the only reason? Absolutely.
See, what every version of those commercials does is more than just keep us
entertained while they flash images of the beer label. In each, the prospective
customer is offered a choice.
And here‘s the key – it‘s NOT a choice about whether or not the beer is good.
Rather, the commercial assumes the beer has more than one virtue, and asks you
to think instead about WHY it‘s good. The door to deciding whether or not to buy
the beer at all is already closed.
This is a classic way to coax a customer – or anybody – to move toward a
desirable decision.
For instance, I‘m sure you‘ve seen the same technique work with children …
The Power of the Foregone Conclusion
I‘m sure you‘ve seen the Miller Lite beer commercials over the years.
From retired boxers to women in bikinis, wrestling in a fountain. And we join the
situation in the middle of an escalating argument. What are they fighting about?
You know it, I know it, everybody knows it: ―TASTE‘S GREAT!‖… ―LESS FILLING!‖
On the one side, a dedicated Miller Lite drinker loves the beer‘s taste while he
claims it goes down easy without filling up.
In one recent, much-forwarded version on YouTube, the Miller Lite fans doing the
fighting are wet women in tight shirts rolling in water fountains. You might think
it‘s only the latter detail that kept this age-old ad slogan afloat. But is it possible
that‘s not the only reason? Absolutely.
See, what every version of those commercials does is more than just keep us
entertained while they flash images of the beer label. In each, the prospective
customer is offered a choice.
And here‘s the key – it‘s NOT a choice about whether or not the beer is good.
Rather, the commercial assumes the beer has more than one virtue, and asks you
to think instead about WHY it‘s good. The door to deciding whether or not to buy
the beer at all is already closed.
This is a classic way to coax a customer – or anybody – to move toward a
desirable decision.
For instance, I‘m sure you‘ve seen the same technique work with children …
www.ProCopyWritingTactics.com
―Hey, Junior,‖ you say while trying to peel your 5-year-old‘s eyes from the
television at bedtime, ―Do you want to brush your teeth with the striped
toothpaste or the blue stuff?‖
No option there for Junior to opt out of brushing his teeth entirely. ―The blue
stuff,‖ he shouts. And minutes later, Junior is tucked into bed, teeth brushed,
staring at the ceiling and wondering what happened.
You can use the same technique in direct-response copy.
Especially in the sales close, where getting your prospect to commit to a decision
is key. For instance, imagine a sales letter that says in the close…
You might choose a one-year trial supply of Sludge-O-Matic water filters, yours to
try at no risk. For a full 12 months.
Or you might lean toward my ―Discounted Lifetime Offer‖… which will have you
guzzling crystal-clear water from now until judgment day.
Really, it‘s your choice. Either way, you win. Just let me know soon what you
decide…
This is called a ―foregone conclusion‖ close. It‘s assumed, in the copy above, that
the customer has already decided to buy the filters. And now the only decision to
make is whether to get it for one year or a lifetime.
Clever, eh?
―Hey, Junior,‖ you say while trying to peel your 5-year-old‘s eyes from the
television at bedtime, ―Do you want to brush your teeth with the striped
toothpaste or the blue stuff?‖
No option there for Junior to opt out of brushing his teeth entirely. ―The blue
stuff,‖ he shouts. And minutes later, Junior is tucked into bed, teeth brushed,
staring at the ceiling and wondering what happened.
You can use the same technique in direct-response copy.
Especially in the sales close, where getting your prospect to commit to a decision
is key. For instance, imagine a sales letter that says in the close…
You might choose a one-year trial supply of Sludge-O-Matic water filters, yours to
try at no risk. For a full 12 months.
Or you might lean toward my ―Discounted Lifetime Offer‖… which will have you
guzzling crystal-clear water from now until judgment day.
Really, it‘s your choice. Either way, you win. Just let me know soon what you
decide…
This is called a ―foregone conclusion‖ close. It‘s assumed, in the copy above, that
the customer has already decided to buy the filters. And now the only decision to
make is whether to get it for one year or a lifetime.
Clever, eh?
www.ProCopyWritingTactics.com
Brainstorming for One
"Brain-writing" is not my term. But we're going to make it our own by revising it a
little to make it more productive…
You brainstorm to get ideas when you have none.
Ideally, you do so in a group. So you can feed off each other. So you can
legitimize sitting around drinking coffee. So you can get others to do all the hard
thinking for you.
In all those respects, group brainstorming is a good thing.
But what do you do when you're writing in isolation?
Brain-writing is a way to kick ideas around … jumpstart your engines … and get
into that "zone" of creativity that you normally hope to get in a group session.
In fiction circles, there's something similar called "free-writing."
USUALLY, it simply means setting a timer, putting pen to page, and letting the
ideas pour.
Whatever it is, you write it down. You don't stop until your pen runs out of ink or
your elbow balloons like a grapefruit.
But there are two problems with free-writing when you apply it to writing promo
copy:
First, pens come with a lot of ink these days. Even the dime-store ballpoints
could keep you scribbling well past deadline.
Second, sometimes it's the very prospect of a blank page … the sight of a
blinking cursor… and the notion of all that cerebral "freedom" … that's got
you stymied in the first place.
There is a more efficient way to get started.
If you were about to make bricks, would you begin without clay? If you were
getting ready to make glass, would you begin without sand? If you wanted to
make punch, would you leave out the hooch?
Of course not.
So why is it writers of any kind so often try to start conjuring up ideas out of thin
air?
Brainstorming for One
"Brain-writing" is not my term. But we're going to make it our own by revising it a
little to make it more productive…
You brainstorm to get ideas when you have none.
Ideally, you do so in a group. So you can feed off each other. So you can
legitimize sitting around drinking coffee. So you can get others to do all the hard
thinking for you.
In all those respects, group brainstorming is a good thing.
But what do you do when you're writing in isolation?
Brain-writing is a way to kick ideas around … jumpstart your engines … and get
into that "zone" of creativity that you normally hope to get in a group session.
In fiction circles, there's something similar called "free-writing."
USUALLY, it simply means setting a timer, putting pen to page, and letting the
ideas pour.
Whatever it is, you write it down. You don't stop until your pen runs out of ink or
your elbow balloons like a grapefruit.
But there are two problems with free-writing when you apply it to writing promo
copy:
First, pens come with a lot of ink these days. Even the dime-store ballpoints
could keep you scribbling well past deadline.
Second, sometimes it's the very prospect of a blank page … the sight of a
blinking cursor… and the notion of all that cerebral "freedom" … that's got
you stymied in the first place.
There is a more efficient way to get started.
If you were about to make bricks, would you begin without clay? If you were
getting ready to make glass, would you begin without sand? If you wanted to
make punch, would you leave out the hooch?
Of course not.
So why is it writers of any kind so often try to start conjuring up ideas out of thin
air?
www.ProCopyWritingTactics.com
For all the reasons to get "blocked," this is the easiest of them to resolve.
Before you begin your solo brainstorming session (or a group one, for that
matter), get yourself a hefty stack of "stuff" about the product.
Aim for height. An inch is too little. A foot is too high. Somewhere in the middle
ought to do it.
Next to this, put a fresh stack of index cards … a legal pad … and/or a computer.
This is where the "brain-writing" comes in. Start reading. Start taking notes.
The process remains "free" in the sense that you shouldn't try to organize the
ideas at this point. Record them as they come. You'll sort later.
However, contrary to popular creativity myths, discipline has a role. For instance:
You'll need to keep yourself from focusing too long on any one aspect of your
research.
You'll need to force yourself to write in full-fledged ad copy, rather than just
recording notes.
And you'll need to make sure, always, that the central promise of your ad is the
magnet pulling you through the muck of ideas you'll produce.
You should have at least six kinds of things in your "brain-writing" stack before
you begin:
1. Competitors' ads.
If you write direct mail, you know there's no excuse for not being
seeded on competing lists. Keep a box of other people's promos by
your desk.
2. Samples of the competitors' products.
You can probably get comped, as a professional courtesy. But, at
least once in awhile, go through the subscription process
anonymously. You might learn something from the way they do
business.
For all the reasons to get "blocked," this is the easiest of them to resolve.
Before you begin your solo brainstorming session (or a group one, for that
matter), get yourself a hefty stack of "stuff" about the product.
Aim for height. An inch is too little. A foot is too high. Somewhere in the middle
ought to do it.
Next to this, put a fresh stack of index cards … a legal pad … and/or a computer.
This is where the "brain-writing" comes in. Start reading. Start taking notes.
The process remains "free" in the sense that you shouldn't try to organize the
ideas at this point. Record them as they come. You'll sort later.
However, contrary to popular creativity myths, discipline has a role. For instance:
You'll need to keep yourself from focusing too long on any one aspect of your
research.
You'll need to force yourself to write in full-fledged ad copy, rather than just
recording notes.
And you'll need to make sure, always, that the central promise of your ad is the
magnet pulling you through the muck of ideas you'll produce.
You should have at least six kinds of things in your "brain-writing" stack before
you begin:
1. Competitors' ads.
If you write direct mail, you know there's no excuse for not being
seeded on competing lists. Keep a box of other people's promos by
your desk.
2. Samples of the competitors' products.
You can probably get comped, as a professional courtesy. But, at
least once in awhile, go through the subscription process
anonymously. You might learn something from the way they do
business.
www.ProCopyWritingTactics.com
3. Printouts of relevant web sites.
Yes, printouts. If you'd rather, you can make handwritten notes
while scrolling a screen. But avoid the temptation to bookmark
links, save pages, or copy and paste text into word documents. No
matter what you think … the only way to really absorb the ideas is
to re-interpret them for your own notes.
4. Relevant magazines and newspapers.
Big media has the budget to gather persuasive stats and
anecdotes. Again, copy the information in your own hand. Don't
just clip and count on coming back to it later. HOWEVER, make
sure you note your sources with every factoid – both for legal
reasons and because you'll get extra credibility when you cite a
respected source.
5. History and non-fiction bestsellers.
Sometimes, nothing can be more valuable than going down to
your local bookstore to see what your prospects are reading. It's
an excellent way to put your thumb on the popular zeitgeist.
Restrict yourself, however, to buying two books … tops. If you're
under any kind of deadline, you won't have time for more than
that.
6. Your product manager's "best of."
Any good product manager will give you the following items when
you start a copywriting project: product-related e-mails, raw
testimonials, 3rd-party reviews and endorsements, product-
related news clippings, free "giveaways" that come with the offer,
notes from past brainstorming meetings, past control packages,
tapes or transcripts of conversations with customers, customer
service letters, interviews with core people connected with the
product, and phone numbers of people you can call to talk to
about the product.
3. Printouts of relevant web sites.
Yes, printouts. If you'd rather, you can make handwritten notes
while scrolling a screen. But avoid the temptation to bookmark
links, save pages, or copy and paste text into word documents. No
matter what you think … the only way to really absorb the ideas is
to re-interpret them for your own notes.
4. Relevant magazines and newspapers.
Big media has the budget to gather persuasive stats and
anecdotes. Again, copy the information in your own hand. Don't
just clip and count on coming back to it later. HOWEVER, make
sure you note your sources with every factoid – both for legal
reasons and because you'll get extra credibility when you cite a
respected source.
5. History and non-fiction bestsellers.
Sometimes, nothing can be more valuable than going down to
your local bookstore to see what your prospects are reading. It's
an excellent way to put your thumb on the popular zeitgeist.
Restrict yourself, however, to buying two books … tops. If you're
under any kind of deadline, you won't have time for more than
that.
6. Your product manager's "best of."
Any good product manager will give you the following items when
you start a copywriting project: product-related e-mails, raw
testimonials, 3rd-party reviews and endorsements, product-
related news clippings, free "giveaways" that come with the offer,
notes from past brainstorming meetings, past control packages,
tapes or transcripts of conversations with customers, customer
service letters, interviews with core people connected with the
product, and phone numbers of people you can call to talk to
about the product.
www.ProCopyWritingTactics.com
This is, of course, just a partial list. You could add more. But even with only the
above, you should be drowning in new ideas before day's end.
(At which point, you'll have a different problem – more ideas than you can spend
in one piece! Every copywriter should be so lucky, right? Save the leftovers for
the test mailing.)
The beauty of this simple approach is that you don't need a soul around to help
you make it pay off. In fact, isolation makes it easier.
Tip: At some point, you'll make it to the bottom of the stack or you'll feel in your
gut that you've got all the key points somehow covered. AT that moment, stop
and get up. Put on your coat. Go shoot some hoops, take a walk, knit an afghan
(the sweater, not the citizen).
While you take a break, your subconscious mind is mulling over everything you've
come across. Absorbing. Sorting. Editing.
The next morning, put the pile of stuff in a box and get it out of your sight.
Everything happens now inside your pile of notes. Re-read all the material. Twice.
Take the points that stand out and re-write them on a fresh page. Some things
will stand out. Others will strike you as complete garbage. Distill and polish.
Narrow. If you need to accelerate the process, mail or e-mail the notes to a
trusted (and patient) friend to read.
If you try this technique and you're STILL stuck for ideas by the time you reach
the bottom of the stack, you might consider buying yourself a push broom. Or
running for public office.
This is, of course, just a partial list. You could add more. But even with only the
above, you should be drowning in new ideas before day's end.
(At which point, you'll have a different problem – more ideas than you can spend
in one piece! Every copywriter should be so lucky, right? Save the leftovers for
the test mailing.)
The beauty of this simple approach is that you don't need a soul around to help
you make it pay off. In fact, isolation makes it easier.
Tip: At some point, you'll make it to the bottom of the stack or you'll feel in your
gut that you've got all the key points somehow covered. AT that moment, stop
and get up. Put on your coat. Go shoot some hoops, take a walk, knit an afghan
(the sweater, not the citizen).
While you take a break, your subconscious mind is mulling over everything you've
come across. Absorbing. Sorting. Editing.
The next morning, put the pile of stuff in a box and get it out of your sight.
Everything happens now inside your pile of notes. Re-read all the material. Twice.
Take the points that stand out and re-write them on a fresh page. Some things
will stand out. Others will strike you as complete garbage. Distill and polish.
Narrow. If you need to accelerate the process, mail or e-mail the notes to a
trusted (and patient) friend to read.
If you try this technique and you're STILL stuck for ideas by the time you reach
the bottom of the stack, you might consider buying yourself a push broom. Or
running for public office.
www.ProCopyWritingTactics.com
At Least 10 Books Every Copywriter Should Read –
Twice
On my first day as copywriter, master marketer Bill Bonner handed me a stack of
books. A collection I‘ve long since lost in the sea of books, tapes, and videos –
only some about marketing – that followed.
I read them on lunch breaks and while eating dinner. I listened to the tapes in the
car. I watched the videos on a borrowed TV (I had sworn off owning one of my
own at the time.) Many were good. Some were better. A lot repeated the same
principles over and over, which wasn‘t necessarily a bad thing.
Today, I‘d warn any new copywriter or marketer that you‘re not going to get a full
career education from books alone. Nothing beats hands-on experience, actually
writing and reading the promotional pieces you hope to emulate and, one day,
beat.
Still, if you‘re hoping to catch up fast… if you‘re looking for inspiration or ideas…
even if you‘re looking for shortcuts… there are definitely books, jammed full of
both theory and examples, that can get you there.
For some time, I used to keep just one or two titles in the back of my mind to
share with anybody who wanted a recommendation. But I started getting
requests for a reading list so frequently that I pulled one together.
On that list, books on Internet marketing and the new Age of Persuasion? Tomes
on how the world of selling has changed and will never be the same again? Not
hardly.
In fact, most of these ―must reads‖ were probably written on typewriters. If not
by hand. And of those that are more recent, some aren‘t about writing marketing
copy at all.
Take a look. And if you haven‘t read any of these, hit the bookstore, Amazon.com
(there are links below), or the library (remember libraries?) and pick up a copy or
two…
At Least 10 Books Every Copywriter Should Read –
Twice
On my first day as copywriter, master marketer Bill Bonner handed me a stack of
books. A collection I‘ve long since lost in the sea of books, tapes, and videos –
only some about marketing – that followed.
I read them on lunch breaks and while eating dinner. I listened to the tapes in the
car. I watched the videos on a borrowed TV (I had sworn off owning one of my
own at the time.) Many were good. Some were better. A lot repeated the same
principles over and over, which wasn‘t necessarily a bad thing.
Today, I‘d warn any new copywriter or marketer that you‘re not going to get a full
career education from books alone. Nothing beats hands-on experience, actually
writing and reading the promotional pieces you hope to emulate and, one day,
beat.
Still, if you‘re hoping to catch up fast… if you‘re looking for inspiration or ideas…
even if you‘re looking for shortcuts… there are definitely books, jammed full of
both theory and examples, that can get you there.
For some time, I used to keep just one or two titles in the back of my mind to
share with anybody who wanted a recommendation. But I started getting
requests for a reading list so frequently that I pulled one together.
On that list, books on Internet marketing and the new Age of Persuasion? Tomes
on how the world of selling has changed and will never be the same again? Not
hardly.
In fact, most of these ―must reads‖ were probably written on typewriters. If not
by hand. And of those that are more recent, some aren‘t about writing marketing
copy at all.
Take a look. And if you haven‘t read any of these, hit the bookstore, Amazon.com
(there are links below), or the library (remember libraries?) and pick up a copy or
two…
www.ProCopyWritingTactics.com
A Copywriter’s Bookshelf Essentials
―Scientific Advertising‖ by Claude Hopkins– This is the granddaddy of all
―how-to‖ books on writing advertising. It‘s also a lean, easy read with very
direct advice on how to write copy that sells. You can find this one free
online. Just type the title intowww.google.com.
Or you can buy the printed version.
―Ogilvy on Advertising‖ by David Ogilvy– There‘s no doubt about it, David
Ogilvy was a genius. In this book, he not only shows you how to sell in
print, but also how to run an agency, hire writers, pitch campaigns, and
more. Also a very quick, easy read.
―Tested Advertising Methods‖ by John Caples– This isn‘t exactly the kind of
book you read in one sitting. It‘s simply so dense with tips and examples,
you couldn‘t possibly absorb it all at once. A bit like reading an encyclopedia
of what works. Essential, though, as a shelf reference.
―The Copywriter‘s Handbook‖ by Bob Bly– Oft recommended by yours truly,
as well as countless other copywriters. Bly, who is now a friend of mine and
who‘s written not one but 70 books, has covered every possible question a
new copywriter could ask. (If you read just this and Claude Hopkins, you‘ll
have a jump on half the copywriters working out there today.)
―Elements of Style‖ by Strunk & White– Writing copy isn‘t necessarily about
writing pretty. But it IS about making the copy disappear so the message
itself can shine. Strunk & White can teach you plenty about writing tightly.
In fact, everything you would need to know.
―On Writing Well‖ by William Zinsser– That said about Strunk & White, this
one helps you come at the same key lessons from a fresh angle. It‘s a little
dry in spots (it‘s about grammar, after all). But still a worthy read.
Especially for the conscientious writer who cares enough to edit his or her
own stuff.
These are the obvious choices. But then, there are some other books you might
not necessarily think of when you‘re stocking your copywriting bookshelf:
―On Writing‖ by Stephen King– Don‘t laugh. I know, he‘s Stephen King. To
some, a schlock-master. But there‘s no question, the guy knows how to spin
a yarn. (Consider the incredible number of his books that have been spun
into Hollywood blockbusters.) It comes highly recommended from several
writers I respect.
―Influence: The Psychology of Persuasion‖ by Dr. Robert Cialdini – This is a
perennial recommendation of mine. I‘ll be frank: The science of psychology
scares me. It always seems like those who study human behavior are
driven a little over-analytical, even mad, by it. However, this book is still a
brilliant portrait of what persuades and why. Every good copywriter I know
has it on his or her reading list.
A Copywriter’s Bookshelf Essentials
―Scientific Advertising‖ by Claude Hopkins– This is the granddaddy of all
―how-to‖ books on writing advertising. It‘s also a lean, easy read with very
direct advice on how to write copy that sells. You can find this one free
online. Just type the title intowww.google.com.
Or you can buy the printed version.
―Ogilvy on Advertising‖ by David Ogilvy– There‘s no doubt about it, David
Ogilvy was a genius. In this book, he not only shows you how to sell in
print, but also how to run an agency, hire writers, pitch campaigns, and
more. Also a very quick, easy read.
―Tested Advertising Methods‖ by John Caples– This isn‘t exactly the kind of
book you read in one sitting. It‘s simply so dense with tips and examples,
you couldn‘t possibly absorb it all at once. A bit like reading an encyclopedia
of what works. Essential, though, as a shelf reference.
―The Copywriter‘s Handbook‖ by Bob Bly– Oft recommended by yours truly,
as well as countless other copywriters. Bly, who is now a friend of mine and
who‘s written not one but 70 books, has covered every possible question a
new copywriter could ask. (If you read just this and Claude Hopkins, you‘ll
have a jump on half the copywriters working out there today.)
―Elements of Style‖ by Strunk & White– Writing copy isn‘t necessarily about
writing pretty. But it IS about making the copy disappear so the message
itself can shine. Strunk & White can teach you plenty about writing tightly.
In fact, everything you would need to know.
―On Writing Well‖ by William Zinsser– That said about Strunk & White, this
one helps you come at the same key lessons from a fresh angle. It‘s a little
dry in spots (it‘s about grammar, after all). But still a worthy read.
Especially for the conscientious writer who cares enough to edit his or her
own stuff.
These are the obvious choices. But then, there are some other books you might
not necessarily think of when you‘re stocking your copywriting bookshelf:
―On Writing‖ by Stephen King– Don‘t laugh. I know, he‘s Stephen King. To
some, a schlock-master. But there‘s no question, the guy knows how to spin
a yarn. (Consider the incredible number of his books that have been spun
into Hollywood blockbusters.) It comes highly recommended from several
writers I respect.
―Influence: The Psychology of Persuasion‖ by Dr. Robert Cialdini – This is a
perennial recommendation of mine. I‘ll be frank: The science of psychology
scares me. It always seems like those who study human behavior are
driven a little over-analytical, even mad, by it. However, this book is still a
brilliant portrait of what persuades and why. Every good copywriter I know
has it on his or her reading list.
www.ProCopyWritingTactics.com
―The Tipping Point‖ by Malcolm Gladwell– This wasn‘t supposed to be a
marketing book. It was just about ideas that move masses of people to
suddenly change their behavior. But then, what IS marketing if not the
effort to move the masses? A great read in that it‘s interesting and
entertaining as it informs.
―How to Win Friends & Influence People‖ by Dale Carnegie– This really
belongs in any list of classics. And if Carnegie were around today, he might
write a sequel with the words ―on the Internet‖ tacked onto his famous title.
Online marketing is, after all, about relationships. And this book is all about
how to start them.
What else?
One I‘ve since added to this list, which I didn‘t include on the original, was Gene
Schwartz‘s ―Breakthrough Advertising‖. Anybody who does anything with
business-building or marketing should read it. Mostly because it was so hard to
come by. However, it‘s back in print and well worth getting.
Also, a fun read that‘s not necessarily marketing, is the recent
bestseller―Freakonomics‖… in which the authors make the point over and over
that the thing that makes virtually everything happen (or not happen) is
connected to the incentive. Fix the incentive, guide the action. Which, I guess,
makes it a kind of marketing book – or at least key marketing insight – after all.
And while you‘re adding fun reads from the fringes, let‘s not forget Malcolm
Gladwell‘s follow-up to ―The Tipping Point,‖ which is titled ―Blink‖. It‘s not as good
and maybe not essential reading (some of the examples seem off). But it‘s still
got some points of interest. Mostly those about how people make decisions
quickly and emotionally, pre-logic.
And, without betraying a bias, I think any recommended reading list wouldn‘t be
complete without Michael Masterson‘s latest and greatest (in my opinion)
bestseller,―Ready, Fire, Aim‖. This is more about business building, but you can‘t
build a business without selling – a point that Michael makes masterfully in the
book.
You might also want to throw another of Michael‘s books onto the pile,―Power and
Persuasion‖.
―The Tipping Point‖ by Malcolm Gladwell– This wasn‘t supposed to be a
marketing book. It was just about ideas that move masses of people to
suddenly change their behavior. But then, what IS marketing if not the
effort to move the masses? A great read in that it‘s interesting and
entertaining as it informs.
―How to Win Friends & Influence People‖ by Dale Carnegie– This really
belongs in any list of classics. And if Carnegie were around today, he might
write a sequel with the words ―on the Internet‖ tacked onto his famous title.
Online marketing is, after all, about relationships. And this book is all about
how to start them.
What else?
One I‘ve since added to this list, which I didn‘t include on the original, was Gene
Schwartz‘s ―Breakthrough Advertising‖. Anybody who does anything with
business-building or marketing should read it. Mostly because it was so hard to
come by. However, it‘s back in print and well worth getting.
Also, a fun read that‘s not necessarily marketing, is the recent
bestseller―Freakonomics‖… in which the authors make the point over and over
that the thing that makes virtually everything happen (or not happen) is
connected to the incentive. Fix the incentive, guide the action. Which, I guess,
makes it a kind of marketing book – or at least key marketing insight – after all.
And while you‘re adding fun reads from the fringes, let‘s not forget Malcolm
Gladwell‘s follow-up to ―The Tipping Point,‖ which is titled ―Blink‖. It‘s not as good
and maybe not essential reading (some of the examples seem off). But it‘s still
got some points of interest. Mostly those about how people make decisions
quickly and emotionally, pre-logic.
And, without betraying a bias, I think any recommended reading list wouldn‘t be
complete without Michael Masterson‘s latest and greatest (in my opinion)
bestseller,―Ready, Fire, Aim‖. This is more about business building, but you can‘t
build a business without selling – a point that Michael makes masterfully in the
book.
You might also want to throw another of Michael‘s books onto the pile,―Power and
Persuasion‖.
www.ProCopyWritingTactics.com
What else? How about these extras to sweeten the mix …
Bonus Recommendations
To see what it's like to ―write as people talk,‖ try reading selections from
any book of collected interviews by Studs Terkel.
Terkel simply taped conversations with real folk and then tried to accurately
represent them – word for word – in books of collected interviews.
―Surely You Must Be Joking, Mr. Feynman‖is about Nobel Prize-winning
physicist Richard Feynman. If you need a little jolt of imagination, this
inspirational collection of Feynman's anecdotes will show you how it's done.
You might also check out―The Story Factor‖ by Annette Simmons.
And, also,―Telling Lies for Fun & Profit‖ by Lawrence Block.
However, If You Read Nothing Else…
There is one thing that absolutely every copywriter, without fail, should read. And
then re-read. And then copy out by hand, word for word. And that is: every best-
performing promo you come across.
This isn‘t optional. For any copywriter. This one exercise will probably teach you
more – and more quickly – than any of the other reading I‘ve recommended
above.
This is the best and fastest way for you to get into the gear-works of what makes
a pitch work. Michael Masterson recommends it. Every good copywriter he‘s
trained has done it. I know I have. I know Paul Hollingshead and others have.
What else? How about these extras to sweeten the mix …
Bonus Recommendations
To see what it's like to ―write as people talk,‖ try reading selections from
any book of collected interviews by Studs Terkel.
Terkel simply taped conversations with real folk and then tried to accurately
represent them – word for word – in books of collected interviews.
―Surely You Must Be Joking, Mr. Feynman‖is about Nobel Prize-winning
physicist Richard Feynman. If you need a little jolt of imagination, this
inspirational collection of Feynman's anecdotes will show you how it's done.
You might also check out―The Story Factor‖ by Annette Simmons.
And, also,―Telling Lies for Fun & Profit‖ by Lawrence Block.
However, If You Read Nothing Else…
There is one thing that absolutely every copywriter, without fail, should read. And
then re-read. And then copy out by hand, word for word. And that is: every best-
performing promo you come across.
This isn‘t optional. For any copywriter. This one exercise will probably teach you
more – and more quickly – than any of the other reading I‘ve recommended
above.
This is the best and fastest way for you to get into the gear-works of what makes
a pitch work. Michael Masterson recommends it. Every good copywriter he‘s
trained has done it. I know I have. I know Paul Hollingshead and others have.
www.ProCopyWritingTactics.com
Guilt Marketing – A Vintner's Secret Weapon
I've got wine on my mind. Not literally, mind you. As I write this, it's not even
10:00 a.m., for heaven's sake. No. I'm thinking about wine thanks to an article I
just read, which will interest anyone serious about marketing or copywriting
success.
See, here in the Paris office where I sometimes set up shop, there works
winemaking royalty – the daughter of California vintner Manfred Esser.
Recently, she brought each of us a bottle of her father's wine. My wife and I drank
ours with dinner that night. Good stuff. After sampling the wine, I looked up the
wine master on the Web.
It turns out Esser's talent is not just in making a good wine, which he does. It's
also in applying "new" marketing principles that we could all benefit from
studying – as a copywriter and as an entrepreneur.
Esser, who's a Harvard grad, took over the Cuvaison Winery in Napa Valley in
1986. The vineyard was headed south faster than a goose in February.
Yet, within two years, Esser had turned it around. Not only was Cuvaison
suddenly breaking even, they had cornered 25 percent of the export market. And
they were selling as many as 70,000 cases of their top-end wine every year.
Twelve years later, Esser sold his partnership in Cuvaison and launched his own
label. Esser Vineyards is now one of California's newest hot contenders, despite
competition with, as Esser puts it, "about 80,000 different competitors."
How does he do it? Esser calls it "guilt marketing."
Guilt Marketing – A Vintner's Secret Weapon
I've got wine on my mind. Not literally, mind you. As I write this, it's not even
10:00 a.m., for heaven's sake. No. I'm thinking about wine thanks to an article I
just read, which will interest anyone serious about marketing or copywriting
success.
See, here in the Paris office where I sometimes set up shop, there works
winemaking royalty – the daughter of California vintner Manfred Esser.
Recently, she brought each of us a bottle of her father's wine. My wife and I drank
ours with dinner that night. Good stuff. After sampling the wine, I looked up the
wine master on the Web.
It turns out Esser's talent is not just in making a good wine, which he does. It's
also in applying "new" marketing principles that we could all benefit from
studying – as a copywriter and as an entrepreneur.
Esser, who's a Harvard grad, took over the Cuvaison Winery in Napa Valley in
1986. The vineyard was headed south faster than a goose in February.
Yet, within two years, Esser had turned it around. Not only was Cuvaison
suddenly breaking even, they had cornered 25 percent of the export market. And
they were selling as many as 70,000 cases of their top-end wine every year.
Twelve years later, Esser sold his partnership in Cuvaison and launched his own
label. Esser Vineyards is now one of California's newest hot contenders, despite
competition with, as Esser puts it, "about 80,000 different competitors."
How does he do it? Esser calls it "guilt marketing."
www.ProCopyWritingTactics.com
"You treat your customers SO well," says Esser, "that you create a sense
of obligation to come back to your product or service. And, ev en more
than that, to become ambassadors for your company. They actually feel
guilty if they forget about you."
He's not recommending tricks or jingles or cleverness or high-pressure selling to
turn a buck. He's recommending a quality product. And quality service. At a good
price.
It's relationship building. In other words, the same marketing secret it took so
many new Web businesses a few years to "discover" … sells wine, too. And it
happens to work extremely well in selling other things as well – like your
copywriting services.
Esser's done this before. In his early career, he took a Chicago wine-importing
firm from nothing to a multimillion-dollar business by providing high-quality
products and exceptional, high-quality service.
Is this strategy new or reckless or revolutionary? No, quite the opposite. It's old
school, time-tested, and one of the safest business plans anyone could imagine.
What's this mean to you as a copywriter?
Well, the starting place is producing a high-quality product – which, in this case,
is your copy. But unlike selling wine, the relationship building isn't just with the
client. The first and most important relationship you need to build is with your
reader.
How do you do that? The same way Esser does. No hype. No high pressure . No
tricks or jingles or cleverness. Just honest, specific copy that doesn't make
unsubstantiated claims. Copy that gets to the point quickly … that builds
excitement … and that treats your reader with respect.
Build this type of quality-based relationships with your reader and you will be a
great copywriter.
The other side to this relationship building – with your client – is where "guilt
marketing" will take you from being a great copywriter to being a successful,
great copywriter.
"You treat your customers SO well," says Esser, "that you create a sense
of obligation to come back to your product or service. And, ev en more
than that, to become ambassadors for your company. They actually feel
guilty if they forget about you."
He's not recommending tricks or jingles or cleverness or high-pressure selling to
turn a buck. He's recommending a quality product. And quality service. At a good
price.
It's relationship building. In other words, the same marketing secret it took so
many new Web businesses a few years to "discover" … sells wine, too. And it
happens to work extremely well in selling other things as well – like your
copywriting services.
Esser's done this before. In his early career, he took a Chicago wine-importing
firm from nothing to a multimillion-dollar business by providing high-quality
products and exceptional, high-quality service.
Is this strategy new or reckless or revolutionary? No, quite the opposite. It's old
school, time-tested, and one of the safest business plans anyone could imagine.
What's this mean to you as a copywriter?
Well, the starting place is producing a high-quality product – which, in this case,
is your copy. But unlike selling wine, the relationship building isn't just with the
client. The first and most important relationship you need to build is with your
reader.
How do you do that? The same way Esser does. No hype. No high pressure . No
tricks or jingles or cleverness. Just honest, specific copy that doesn't make
unsubstantiated claims. Copy that gets to the point quickly … that builds
excitement … and that treats your reader with respect.
Build this type of quality-based relationships with your reader and you will be a
great copywriter.
The other side to this relationship building – with your client – is where "guilt
marketing" will take you from being a great copywriter to being a successful,
great copywriter.
www.ProCopyWritingTactics.com
Always give your client a little bit extra.
During harvest, Esser goes into the vineyard, cuts bunches of grapes, and tissue-
wraps them. He sends them to people important to his business – by overnight
FedEx overnight – with a note saying, "We thought you might be interested in the
new vintage." Relationship building. Guilt marketing.
Treat your clients the same way. If you run across news that's relevant to their
business – especially when you're NOT writing for them – send it to them. By
email or FedEx. They'll appreciate your doing it. And they'll remember you.
And when you are writing for them, throw in a few extra services, things you'd
probably do anyway. But don't charge for them. Or charge a ridiculously low fee.
That lets them know you like working for them and that it's not just about the
money.
Because it's never really "just about the money."
Find out more about the secrets to becoming a successful freelance writer with
The Versatile Freelancer
Always give your client a little bit extra.
During harvest, Esser goes into the vineyard, cuts bunches of grapes, and tissue-
wraps them. He sends them to people important to his business – by overnight
FedEx overnight – with a note saying, "We thought you might be interested in the
new vintage." Relationship building. Guilt marketing.
Treat your clients the same way. If you run across news that's relevant to their
business – especially when you're NOT writing for them – send it to them. By
email or FedEx. They'll appreciate your doing it. And they'll remember you.
And when you are writing for them, throw in a few extra services, things you'd
probably do anyway. But don't charge for them. Or charge a ridiculously low fee.
That lets them know you like working for them and that it's not just about the
money.
Because it's never really "just about the money."
Find out more about the secrets to becoming a successful freelance writer with
The Versatile Freelancer
www.ProCopyWritingTactics.com
How to Add Power Negotiat ion Tactics to Your Sales
Pitch
Remember G. Gordon Liddy?
He helped engineer the plan to break into the Democratic National Committee
offices at the Watergate Hotel during Richard Nixon‘s presidency.
The break-in backfired. The burglars got caught. And eventually, Nixon himself
had to resign.
Even though Nixon‘s advisors knew there were big risks in Liddy‘s plan, they went
for it anyway. How did Liddy talk them into it?
By using the power of something called ―reciprocal concession.‖
Liddy first proposed the plan with a budget of $1 million. ―Ridiculous,‖ said
Mitchell, Magruder, and Dean. ―You‘re an idiot.‖
A week later, Liddy came back with the ―mission‖ budget trimmed to $500,000.
Again, no go.
But Liddy now had them where he wanted them.
He made his final pitch for a ―bare bones‖ version of the original – a version
pretty close to what he had imagined in the first place before he pumped it up
into the grandiose plan.
This one could be done for just $250,000. They went for it. Even though the plan
was just as risky as the first version.
Why?
Years later, Magruder said, ―We were reluctant to send him away with nothing…‖
How to Add Power Negotiat ion Tactics to Your Sales
Pitch
Remember G. Gordon Liddy?
He helped engineer the plan to break into the Democratic National Committee
offices at the Watergate Hotel during Richard Nixon‘s presidency.
The break-in backfired. The burglars got caught. And eventually, Nixon himself
had to resign.
Even though Nixon‘s advisors knew there were big risks in Liddy‘s plan, they went
for it anyway. How did Liddy talk them into it?
By using the power of something called ―reciprocal concession.‖
Liddy first proposed the plan with a budget of $1 million. ―Ridiculous,‖ said
Mitchell, Magruder, and Dean. ―You‘re an idiot.‖
A week later, Liddy came back with the ―mission‖ budget trimmed to $500,000.
Again, no go.
But Liddy now had them where he wanted them.
He made his final pitch for a ―bare bones‖ version of the original – a version
pretty close to what he had imagined in the first place before he pumped it up
into the grandiose plan.
This one could be done for just $250,000. They went for it. Even though the plan
was just as risky as the first version.
Why?
Years later, Magruder said, ―We were reluctant to send him away with nothing…‖
www.ProCopyWritingTactics.com
This is reciprocal concession in action. Both sides gave something, but Liddy got a
big part of what he had wanted in the first place.
Here‘s how it works…
At UCLA, they did a study where groups of students negotiated for a pile of
money. They were told observers were measuring their negotiation skills.
But beforehand, one student was secretly instructed to try three different
negotiation tactics with three different sets of students.
With the first group, he demanded all the money and wouldn‘t budge. With the
second, he made a reasonable demand that was only slightly in his favor. With
the last, he made the extreme demand first, and then backed off to something
more agreeable but still in his favor.
Guess which group gave him the most money?
In every test trial, the third group was the most generous.
The study found that the third group was more satisfied with the outcome – even
though they had given up more of the money. They were more satisfied because
they believed they had controlled the deal.
You can apply this principle in sales copy.
How much are you asking for the product? Could it be worth more? If not, your
copy needs to be stronger. If so, you can try this reciprocal concession technique
by saying something like this…
“My publisher wants to charge you $1,000 a year for this service. ‗Just to get the
same advice from a paid professional‘ he said, ‗would easily run a guy four and
five times that.‘
“Honestly, he‘s right. And I‘m confident what you‘ll get is worth at least 10 times
that.
“But I‘ll tell you what…
“Suppose one year of service cost you just $750. That‘s the price I‘m supposed to
tell strangers when they come talk to me at the end of seminars. And that‘s
actually a very good deal.
“However… you and I, we share a common interest here…
“So I‘ve twisted my publisher‘s arm and worked out a special deal: One year of
my service – with all the things we talked about earlier – will cost you only $500.
“Sign up for two years, and you‘ll get each year‘s worth of full service for an even
deeper discount – just $450 per year. Doesn‘t that sound fair?‖
Okay, ‘nuff said. I think you get the idea.
This is reciprocal concession in action. Both sides gave something, but Liddy got a
big part of what he had wanted in the first place.
Here‘s how it works…
At UCLA, they did a study where groups of students negotiated for a pile of
money. They were told observers were measuring their negotiation skills.
But beforehand, one student was secretly instructed to try three different
negotiation tactics with three different sets of students.
With the first group, he demanded all the money and wouldn‘t budge. With the
second, he made a reasonable demand that was only slightly in his favor. With
the last, he made the extreme demand first, and then backed off to something
more agreeable but still in his favor.
Guess which group gave him the most money?
In every test trial, the third group was the most generous.
The study found that the third group was more satisfied with the outcome – even
though they had given up more of the money. They were more satisfied because
they believed they had controlled the deal.
You can apply this principle in sales copy.
How much are you asking for the product? Could it be worth more? If not, your
copy needs to be stronger. If so, you can try this reciprocal concession technique
by saying something like this…
“My publisher wants to charge you $1,000 a year for this service. ‗Just to get the
same advice from a paid professional‘ he said, ‗would easily run a guy four and
five times that.‘
“Honestly, he‘s right. And I‘m confident what you‘ll get is worth at least 10 times
that.
“But I‘ll tell you what…
“Suppose one year of service cost you just $750. That‘s the price I‘m supposed to
tell strangers when they come talk to me at the end of seminars. And that‘s
actually a very good deal.
“However… you and I, we share a common interest here…
“So I‘ve twisted my publisher‘s arm and worked out a special deal: One year of
my service – with all the things we talked about earlier – will cost you only $500.
“Sign up for two years, and you‘ll get each year‘s worth of full service for an even
deeper discount – just $450 per year. Doesn‘t that sound fair?‖
Okay, ‘nuff said. I think you get the idea.
www.ProCopyWritingTactics.com
By presenting an almost preposterous offer and then backing off to the real
parameters of the deal, you get more agreement more quickly. And, usually, you
also get a customer who‘s more satisfied after making the purchase.
Find out more about the hidden art of persuading customers to buy with
compelling salescopy in AWAI‘s Accelerated Program for Six-Figure Copywriting.
Mastering the Hidden Power of Lift Notes
Well thought out lift notes carry power many copywriters don‘t understand. If you
understand and harness this power, you will not only improve response, you‘ll
also gain a significant advantage over other copywriters.
Lift notes – also known as lift letters – are short, one- or two-sided notes
enclosed in a direct-mail package to ―lift‖ response rates. As simple as they might
seem, they can push reluctant buyers to your side of the fence.
They can be quick to produce, and are often the first thing direct-mail prospects
read. And yet – as simple as they are – a good lift note can sometimes boost
response rates by 25% or more.
You can apply the lift note concept to all different kinds of formats, in all different
kinds of ways.
Lift notes are used most often in envelope packages. They‘re usually from
someone other than the person who signs the main letter. It could be the
company president, a celebrity endorser, a happy user, or the head of an
independent testing company.
These have to be real people, and you cannot use their names without first
getting their permission. And after writing the lift note, you have to get their okay
on what you‘ve written.
For self-mailers – a format that doesn‘t require an envelope – the lift note might
be done as a cover-wrap, as a faux Post-It (R) note, or as an added note on the
inside front cover.
In e-letter promotions, lift notes are frequently neglected. However, they can be
just as effective here as on print promotions.
E-letter lift notes typically sit above or to the side of the body copy. They can also
be on a separate webpage connected by a hyperlink. In this case, have them
open in a separate, smaller page. Don‘t have them appear as pop-ups, since
many browsers filter these.
By presenting an almost preposterous offer and then backing off to the real
parameters of the deal, you get more agreement more quickly. And, usually, you
also get a customer who‘s more satisfied after making the purchase.
Find out more about the hidden art of persuading customers to buy with
compelling salescopy in AWAI‘s Accelerated Program for Six-Figure Copywriting.
Mastering the Hidden Power of Lift Notes
Well thought out lift notes carry power many copywriters don‘t understand. If you
understand and harness this power, you will not only improve response, you‘ll
also gain a significant advantage over other copywriters.
Lift notes – also known as lift letters – are short, one- or two-sided notes
enclosed in a direct-mail package to ―lift‖ response rates. As simple as they might
seem, they can push reluctant buyers to your side of the fence.
They can be quick to produce, and are often the first thing direct-mail prospects
read. And yet – as simple as they are – a good lift note can sometimes boost
response rates by 25% or more.
You can apply the lift note concept to all different kinds of formats, in all different
kinds of ways.
Lift notes are used most often in envelope packages. They‘re usually from
someone other than the person who signs the main letter. It could be the
company president, a celebrity endorser, a happy user, or the head of an
independent testing company.
These have to be real people, and you cannot use their names without first
getting their permission. And after writing the lift note, you have to get their okay
on what you‘ve written.
For self-mailers – a format that doesn‘t require an envelope – the lift note might
be done as a cover-wrap, as a faux Post-It (R) note, or as an added note on the
inside front cover.
In e-letter promotions, lift notes are frequently neglected. However, they can be
just as effective here as on print promotions.
E-letter lift notes typically sit above or to the side of the body copy. They can also
be on a separate webpage connected by a hyperlink. In this case, have them
open in a separate, smaller page. Don‘t have them appear as pop-ups, since
many browsers filter these.
www.ProCopyWritingTactics.com
Of course, the same rules of strong copywriting apply to lift notes. For instance,
personal is far better than impersonal. Keep sentences and paragraphs short. And
focus on core promise and benefits.
Special Things a Lift Note Can Do for Your Promotion
Here are just a few ideas. Use a lift note to…
Counter key buying objections.
Test your ―second-best‖ or alternate promo headline or approach.
Give readers an extra testimonial.
Make your message sound even more important by getting your company
president to sign it. (But don‘t make the lift note sound ―corporate.‖)
Get a more personal feeling by neatly handwriting it or by using an
unfamiliar script font.
Emphasize the time deadline.
Focus on the best aspect of the offer (the premium, guarantee, discount,
etc.).
Emphasize long-standing credibility.
Cover a recent event, giving the promotion a greater sense of immediacy.
Underscore your USP – the ONE THING that really gives your product an
edge over everyone else‘s.
Emphasize track record, unusual and impressive credentials, or to make the
benefits of the most important package feature especially clear.
Let‘s Look at Theory in Practice
Copywriter David Yale wrote a lift note to boost sales of a book by a lesser-known
golf pro.
―It was tested,‖ Yale said, ―and the results speak for themselves. The lift note
boosted response by more than 25%… and added almost 33% profit per piece
mailed.‖
How did it work?
Johnny Miller, a well-known golf pro, had written the foreword to the book. It
included a glowing endorsement. Yale just adapted Miller‘s foreword and turned it
into a lift note, complete with his photo.
Now… here‘s how you can take advantage of the lift note idea right now. Find a
working promo that doesn‘t have a lift note – one that‘s been around a few
times… and offer to write a lift note for it.
Someone did that with one of my own packages. He charged the publisher $300.
I complained, but the complaints fell on deaf ears.
His lift note had boosted the response of the package by 30%!
Of course, the same rules of strong copywriting apply to lift notes. For instance,
personal is far better than impersonal. Keep sentences and paragraphs short. And
focus on core promise and benefits.
Special Things a Lift Note Can Do for Your Promotion
Here are just a few ideas. Use a lift note to…
Counter key buying objections.
Test your ―second-best‖ or alternate promo headline or approach.
Give readers an extra testimonial.
Make your message sound even more important by getting your company
president to sign it. (But don‘t make the lift note sound ―corporate.‖)
Get a more personal feeling by neatly handwriting it or by using an
unfamiliar script font.
Emphasize the time deadline.
Focus on the best aspect of the offer (the premium, guarantee, discount,
etc.).
Emphasize long-standing credibility.
Cover a recent event, giving the promotion a greater sense of immediacy.
Underscore your USP – the ONE THING that really gives your product an
edge over everyone else‘s.
Emphasize track record, unusual and impressive credentials, or to make the
benefits of the most important package feature especially clear.
Let‘s Look at Theory in Practice
Copywriter David Yale wrote a lift note to boost sales of a book by a lesser-known
golf pro.
―It was tested,‖ Yale said, ―and the results speak for themselves. The lift note
boosted response by more than 25%… and added almost 33% profit per piece
mailed.‖
How did it work?
Johnny Miller, a well-known golf pro, had written the foreword to the book. It
included a glowing endorsement. Yale just adapted Miller‘s foreword and turned it
into a lift note, complete with his photo.
Now… here‘s how you can take advantage of the lift note idea right now. Find a
working promo that doesn‘t have a lift note – one that‘s been around a few
times… and offer to write a lift note for it.
Someone did that with one of my own packages. He charged the publisher $300.
I complained, but the complaints fell on deaf ears.
His lift note had boosted the response of the package by 30%!
www.ProCopyWritingTactics.com
11 Easy Things You Can Do Right Now to Fix a Client’s
Website (and Yours!)
The bigger the Internet gets, the more you‘ll find yourself being called upon by
clients to "fix" websites that aren‘t working. And I‘m talking not only about sales
websites that aren‘t making money but also about editorial-style websites. Here
are the 11 best ways I know of to do it:
1. Define the site’s purpose in five words or less.
Is this a sales site? Then the goal is: "Sell ______________." Is its purpose
to build an e-zine‘s mailing list? Then the goal is: "Get names for mailing
list."
The purpose needs to be that simple. Pick the most important result, make
it narrow, and stick to it. The more you try to accomplish, the less the site
will accomplish in terms of quality results. You can always create other
websites to serve other purposes.
2. Get a headline at the top of the first page.
Forget big logos. Forget splash pages. Get words up top in type bigger than
you think you need. And not just any words. You need a powerful emotional
"hook." A big problem identified. A shocking statement. A huge benefit.
3. Get a big benefit "above the fold."
If your headline at the top of the page is benefit-driven, you‘ve done this. If
your headline is fear-driven or something other than a clear benefit, apply
the "no-scroll" rule: Make sure the reader sees the benefit before he starts
scrolling down the page.
4. Get rid of "click here to continue" page breaks .
For a fluid, more effective reading experience, you need one long scroll. The
less clicking your readers do while soaking up your message, the better.
Don‘t let anyone tell you otherwise.
11 Easy Things You Can Do Right Now to Fix a Client’s
Website (and Yours!)
The bigger the Internet gets, the more you‘ll find yourself being called upon by
clients to "fix" websites that aren‘t working. And I‘m talking not only about sales
websites that aren‘t making money but also about editorial-style websites. Here
are the 11 best ways I know of to do it:
1. Define the site’s purpose in five words or less.
Is this a sales site? Then the goal is: "Sell ______________." Is its purpose
to build an e-zine‘s mailing list? Then the goal is: "Get names for mailing
list."
The purpose needs to be that simple. Pick the most important result, make
it narrow, and stick to it. The more you try to accomplish, the less the site
will accomplish in terms of quality results. You can always create other
websites to serve other purposes.
2. Get a headline at the top of the first page.
Forget big logos. Forget splash pages. Get words up top in type bigger than
you think you need. And not just any words. You need a powerful emotional
"hook." A big problem identified. A shocking statement. A huge benefit.
3. Get a big benefit "above the fold."
If your headline at the top of the page is benefit-driven, you‘ve done this. If
your headline is fear-driven or something other than a clear benefit, apply
the "no-scroll" rule: Make sure the reader sees the benefit before he starts
scrolling down the page.
4. Get rid of "click here to continue" page breaks .
For a fluid, more effective reading experience, you need one long scroll. The
less clicking your readers do while soaking up your message, the better.
Don‘t let anyone tell you otherwise.
www.ProCopyWritingTactics.com
5. If it’s a site for building a mailing list, get your signup box "above
the fold."
If you‘re after email addresses, the sign-up box should be featured
prominently in one of the corners. And it should reassure readers that
there‘s no risk to their privacy when they sign up (which had better be
true).
6. Strip away pointless graphics a nd links.
Don‘t risk having readers miss what you have to say by obscuring it with
unnecessary links and graphics. You don‘t want images that aren‘t relevant
to your message, no matter how cool, cute, or stylish. Nor do you want to
give links to other websites (at least, on a promotional page) or anything
that does not further the sale. Stay in control of the reader‘s attention.
7. Eliminate technological "tricks."
Flashing banners, java-programming, flash-programming or frames are not
only distractions, they take too long to load. Worse, they could crash your
website or the user‘s Web browser. Obliterate them.
8. Reread all your subheads.
Skim through the document and read the subheads. Not all of them have to
sell, sell, sell. But it‘s a mistake for none of them to do so. You need
subheads to keep hooking the interest of the page skimmer, which is what
most people are when they read both online and printed direct mail.
Subheads are there to pull the reader back in. Well-crafted subheads offer a
path that the reader will want to follow.
9. Check and recheck your offer.
When sales go wrong, the offer is often the reason they flop. Is it the best
possible offer the owner of the business can make? Is there an aspect of
the sale that can be fulfilled online (to cut costs and motivate the buyer
with instant-satisfaction urgency)? Can you offer a better guarantee? Is the
guarantee featured close to the push for action? Have you reassured your
readers that your reply page and their information is secure?
5. If it’s a site for building a mailing list, get your signup box "above
the fold."
If you‘re after email addresses, the sign-up box should be featured
prominently in one of the corners. And it should reassure readers that
there‘s no risk to their privacy when they sign up (which had better be
true).
6. Strip away pointless graphics a nd links.
Don‘t risk having readers miss what you have to say by obscuring it with
unnecessary links and graphics. You don‘t want images that aren‘t relevant
to your message, no matter how cool, cute, or stylish. Nor do you want to
give links to other websites (at least, on a promotional page) or anything
that does not further the sale. Stay in control of the reader‘s attention.
7. Eliminate technological "tricks."
Flashing banners, java-programming, flash-programming or frames are not
only distractions, they take too long to load. Worse, they could crash your
website or the user‘s Web browser. Obliterate them.
8. Reread all your subheads.
Skim through the document and read the subheads. Not all of them have to
sell, sell, sell. But it‘s a mistake for none of them to do so. You need
subheads to keep hooking the interest of the page skimmer, which is what
most people are when they read both online and printed direct mail.
Subheads are there to pull the reader back in. Well-crafted subheads offer a
path that the reader will want to follow.
9. Check and recheck your offer.
When sales go wrong, the offer is often the reason they flop. Is it the best
possible offer the owner of the business can make? Is there an aspect of
the sale that can be fulfilled online (to cut costs and motivate the buyer
with instant-satisfaction urgency)? Can you offer a better guarantee? Is the
guarantee featured close to the push for action? Have you reassured your
readers that your reply page and their information is secure?
www.ProCopyWritingTactics.com
10. Read the copy out loud.
This old technique still works. Print the page and read the copy out loud.
You can even record it and listen to the playback. Do any phrases sound
dull? Are there sections that are boring or long-winded? Or parts so good
you realize they should land closer to the front? You‘ll discover flaws and
opportunities this way that you‘ll completely miss otherwise.
11. Get a local usability test.
Get at least three other people who know little or nothing about the product
you‘re selling. Let them read the Web page without giving them instructions
on how to navigate. Provide no warm-up about what to expect. If they all
have similar complaints, fix the problem. If their best response is that they
"like" it, you still have work to do. If they start asking questions about the
product and how to get it, you‘ve got a winner.
Click here to find out more about Copywriting 2.0: Your Complete Guide
to Writing Web Copy that Converts
Revealing Deeper Benefits
Every good copywriter knows the difference between features and benefits. (You
DO know the difference, don't you? If not, I strongly urge you to go back and
review Section 19 of your copywriting course.)
But do you know the difference between "benefits" and "deeper benefits?" And,
just as importantly, do you know how to pack them into your promo copy?
I realize I'm hitting you with a barrage of questions here. My apologies.
Let's slow this down and start from the beginning …
10. Read the copy out loud.
This old technique still works. Print the page and read the copy out loud.
You can even record it and listen to the playback. Do any phrases sound
dull? Are there sections that are boring or long-winded? Or parts so good
you realize they should land closer to the front? You‘ll discover flaws and
opportunities this way that you‘ll completely miss otherwise.
11. Get a local usability test.
Get at least three other people who know little or nothing about the product
you‘re selling. Let them read the Web page without giving them instructions
on how to navigate. Provide no warm-up about what to expect. If they all
have similar complaints, fix the problem. If their best response is that they
"like" it, you still have work to do. If they start asking questions about the
product and how to get it, you‘ve got a winner.
Click here to find out more about Copywriting 2.0: Your Complete Guide
to Writing Web Copy that Converts
Revealing Deeper Benefits
Every good copywriter knows the difference between features and benefits. (You
DO know the difference, don't you? If not, I strongly urge you to go back and
review Section 19 of your copywriting course.)
But do you know the difference between "benefits" and "deeper benefits?" And,
just as importantly, do you know how to pack them into your promo copy?
I realize I'm hitting you with a barrage of questions here. My apologies.
Let's slow this down and start from the beginning …
www.ProCopyWritingTactics.com
A feature is what a product is or does. A benefit is what it will do for whoever
chooses to use it. Quantitative vs. qualitative.
Prospective customers need to know features because they want to know what's
included for the price. You want to translate those features into benefits just to
make sure the customer sees what's in your offer for him or her.
So, what's a "deeper" benefit?
A deeper benefit is the unseen part of the product iceberg. It's the great
goodness implied between the lines of your pitch. The larger-than-life stuff.
Often, it's an intangible, emotional thing. It's the feeling beyond the feeling.
Let me give you an example …
When a local gym that is selling memberships talks about the equipment they
have upstairs, that's a list of features.
When they tell you how that equipment can get you slimmer and stronger than
equipment that's available at other gyms, that's a translation from feature to
benefit.
But when they start flashing you photos of lithe-looking members in gym gear …
chatting confidently … flashing big smiles and toned flesh. Well … that's
approaching the deeper benefits.
I could spell it out further, but I think you see what I mean.
Trouble is, deeper benefits are more abstract. Intangible. So, conveying them can
be difficult. For instance, stating them outright doesn't work. Deep benefits sink
in much better when they're absorbed or realized, rather than stated or
explained.
So … how are you supposed to get these intangible benefits across?
Recently, I heard Michael Masterson give a good speech. In it, he ran through his
personal techniques for communicating these kinds of richer, deeper benefits to
customers …
1. Tell a Simple Story.
Everyone loves a story, said E.M. Forster. Every prospect loves a story that
shows a product benefit hitting its mark. Testimonial stories are perfect for
this. But, in the happy endings that result, you can also share other details
of how the testimonial-givers' lives improved.
A feature is what a product is or does. A benefit is what it will do for whoever
chooses to use it. Quantitative vs. qualitative.
Prospective customers need to know features because they want to know what's
included for the price. You want to translate those features into benefits just to
make sure the customer sees what's in your offer for him or her.
So, what's a "deeper" benefit?
A deeper benefit is the unseen part of the product iceberg. It's the great
goodness implied between the lines of your pitch. The larger-than-life stuff.
Often, it's an intangible, emotional thing. It's the feeling beyond the feeling.
Let me give you an example …
When a local gym that is selling memberships talks about the equipment they
have upstairs, that's a list of features.
When they tell you how that equipment can get you slimmer and stronger than
equipment that's available at other gyms, that's a translation from feature to
benefit.
But when they start flashing you photos of lithe-looking members in gym gear …
chatting confidently … flashing big smiles and toned flesh. Well … that's
approaching the deeper benefits.
I could spell it out further, but I think you see what I mean.
Trouble is, deeper benefits are more abstract. Intangible. So, conveying them can
be difficult. For instance, stating them outright doesn't work. Deep benefits sink
in much better when they're absorbed or realized, rather than stated or
explained.
So … how are you supposed to get these intangible benefits across?
Recently, I heard Michael Masterson give a good speech. In it, he ran through his
personal techniques for communicating these kinds of richer, deeper benefits to
customers …
1. Tell a Simple Story.
Everyone loves a story, said E.M. Forster. Every prospect loves a story that
shows a product benefit hitting its mark. Testimonial stories are perfect for
this. But, in the happy endings that result, you can also share other details
of how the testimonial-givers' lives improved.
www.ProCopyWritingTactics.com
2. Keep Idea Clutter to a Minimum.
Most good promos center not just around a big promise, but around a "big
idea." That is, a core idea that's rich and original and engaging. That ties
directly to the product and the problems it solves. But big ideas can be hard
to handle. Sometimes, they multiply. They can bog your package down and
wear out your prospect.
Think of a blockbuster movie.
The easier it is to sum up the plot in a single sentence, the better it seems
to wash with a mass-market audience. Keep your core-package idea equally
as simple, and packing "deeper benefits" between the lines will be easier.
3. Lay on the Details, Nice and Thick.
Just because you're keeping your core promo idea simple, don't think that
means you should skimp on detail. Rich details can be the strongest mules
in your stable, pulling your reader relentlessly to the sale. It's details that
make your pitch feel real, original, and engaging. Which brings us to this
final point …
4. Keep It Real.
There's a reason testimonials with poor grammar and real customer
snapshots out-pull polished quotes and airbrushed photos. It's because
authenticity builds trust. And trust leads to more checks in the mail.
To get to a trustworthy level, unfortunately, takes work. You actually have
to BE sincere. Study the product until you see it in your sleep. Strike out
every single cliche, every fake sentiment, every vague promise or contrived
piece of logic.
There are two big sins of the copywriter, says Mike: laziness and insincerity. If
you can't be sincere about what you're saying, write for another product. Or find
another career.
2. Keep Idea Clutter to a Minimum.
Most good promos center not just around a big promise, but around a "big
idea." That is, a core idea that's rich and original and engaging. That ties
directly to the product and the problems it solves. But big ideas can be hard
to handle. Sometimes, they multiply. They can bog your package down and
wear out your prospect.
Think of a blockbuster movie.
The easier it is to sum up the plot in a single sentence, the better it seems
to wash with a mass-market audience. Keep your core-package idea equally
as simple, and packing "deeper benefits" between the lines will be easier.
3. Lay on the Details, Nice and Thick.
Just because you're keeping your core promo idea simple, don't think that
means you should skimp on detail. Rich details can be the strongest mules
in your stable, pulling your reader relentlessly to the sale. It's details that
make your pitch feel real, original, and engaging. Which brings us to this
final point …
4. Keep It Real.
There's a reason testimonials with poor grammar and real customer
snapshots out-pull polished quotes and airbrushed photos. It's because
authenticity builds trust. And trust leads to more checks in the mail.
To get to a trustworthy level, unfortunately, takes work. You actually have
to BE sincere. Study the product until you see it in your sleep. Strike out
every single cliche, every fake sentiment, every vague promise or contrived
piece of logic.
There are two big sins of the copywriter, says Mike: laziness and insincerity. If
you can't be sincere about what you're saying, write for another product. Or find
another career.
www.ProCopyWritingTactics.com
14 Tips Copywriters Can Learn from Professional
Storytellers
Any storyteller will tell you – Plot is essential.
But what else do storytellers do to engage an audience? And how can we apply
those secrets to writing better marketing copy?
Almost all agree on a long list of techniques that make stories sound good. Below,
is just a small sample of these techniques – along with ways you can use them to
improve your copy.
Good stories …
1. Appear spontaneous . In copy, the secret is to study the message, the
benefits, and the offer until they become second-nature.
2. Give hope. Good stories and good copy give the reader hope for things to
come.
3. Show passion. Passion in telling and selling is not an option, it's a
necessity. The key: Having faith in what you're selling.
4. Overcome obstacles. Drama is all about obstacles and how they're
overcome. So is copy.
5. Make it personal. From caveman to high intellectual, personal stories have
a way of proving a point that logic and rationalizations just can't muster.
6. Name the hero. Court storytellers would make the hero resemble the king.
In copy, you can do the same – by showing your reader how he'll triumph
with the help of your product.
7. Name a villain. What keeps your prospect up at night? That's an ideal
villain for your sales message to attack.
8. Reward and tease. Reward listeners with progress and they'll be grateful.
Tease with more to come and they'll hang on for more.
14 Tips Copywriters Can Learn from Professional
Storytellers
Any storyteller will tell you – Plot is essential.
But what else do storytellers do to engage an audience? And how can we apply
those secrets to writing better marketing copy?
Almost all agree on a long list of techniques that make stories sound good. Below,
is just a small sample of these techniques – along with ways you can use them to
improve your copy.
Good stories …
1. Appear spontaneous . In copy, the secret is to study the message, the
benefits, and the offer until they become second-nature.
2. Give hope. Good stories and good copy give the reader hope for things to
come.
3. Show passion. Passion in telling and selling is not an option, it's a
necessity. The key: Having faith in what you're selling.
4. Overcome obstacles. Drama is all about obstacles and how they're
overcome. So is copy.
5. Make it personal. From caveman to high intellectual, personal stories have
a way of proving a point that logic and rationalizations just can't muster.
6. Name the hero. Court storytellers would make the hero resemble the king.
In copy, you can do the same – by showing your reader how he'll triumph
with the help of your product.
7. Name a villain. What keeps your prospect up at night? That's an ideal
villain for your sales message to attack.
8. Reward and tease. Reward listeners with progress and they'll be grateful.
Tease with more to come and they'll hang on for more.
www.ProCopyWritingTactics.com
9. Enlarge and enrich. Good stories and good copy remind you of what's
important. They raise the bar and inspire you to hop over it.
10. Build a relationship. Beneath the surface, a good story strengthens
the relationship between teller and listener. In sales copy, it does the same
between marketer and customer.
11. Commute facts to the subconscious. From the beginning, good
stories have been vehicles for ideas, logic, even moral messages. Sales
copy that engages with a story can commute facts just as painlessly.
12. Have a good twist. A story twist: "The butler didn't do it after all." A
twist for an investment letter promo: "Oil is going up – but though it's too
late to buy oil companies, it's NOT too late to buy the company that makes
the drill bits that are attached to every drill bit in the United Arab Emirates.
Who else holds this company? Only the richest energy investor on Wall
Street, J.P. Calhoun …"
13. Make sense. "Realistic" stories aren't always real. They just work
harder to make elegant leaps of logic. In copy, the writer has to understand
his product well enough to make good sense, too. Knowledgeable
customers can spot a fake from a mile off.
14. Leave them wanting more. "What's the sendoff emotion for your
sales message?" asks colleague Addison Wiggin. "How do you want them to
feel when they're finished reading? If you know that, you can write toward
it from the beginning. But if you don't know, your copy ends up going all
over the place."
9. Enlarge and enrich. Good stories and good copy remind you of what's
important. They raise the bar and inspire you to hop over it.
10. Build a relationship. Beneath the surface, a good story strengthens
the relationship between teller and listener. In sales copy, it does the same
between marketer and customer.
11. Commute facts to the subconscious. From the beginning, good
stories have been vehicles for ideas, logic, even moral messages. Sales
copy that engages with a story can commute facts just as painlessly.
12. Have a good twist. A story twist: "The butler didn't do it after all." A
twist for an investment letter promo: "Oil is going up – but though it's too
late to buy oil companies, it's NOT too late to buy the company that makes
the drill bits that are attached to every drill bit in the United Arab Emirates.
Who else holds this company? Only the richest energy investor on Wall
Street, J.P. Calhoun …"
13. Make sense. "Realistic" stories aren't always real. They just work
harder to make elegant leaps of logic. In copy, the writer has to understand
his product well enough to make good sense, too. Knowledgeable
customers can spot a fake from a mile off.
14. Leave them wanting more. "What's the sendoff emotion for your
sales message?" asks colleague Addison Wiggin. "How do you want them to
feel when they're finished reading? If you know that, you can write toward
it from the beginning. But if you don't know, your copy ends up going all
over the place."
www.ProCopyWritingTactics.com
5 Shockingly Simple Ways to Influence Your Buyer
Dr. Robert Cialdini is neither copywriter nor marketer. He's a psychologist. He has
a graduate degree from Columbia. He's also the author of the destined-to-be
marketing classic, "Influence: The Psychology of Persuasion."
" I can admit it freely now," says Cialdini in the book's forward, "All my life I've
been a patsy."
He wrote the book, he says, because it occurred to him that he, himself, had been
persuaded over and over again to do and buy things he didn't want or need. He
wanted to figure out how it had happened. And he wanted to share those findings
so others could avoid the same fate.
A noble cause.
Our cause, I believe, is equally noble.
We're not REALLY out to use what Cialdini found to persuade people to do things
they don't want to do. Rather, we're going to use what he found – at the risk of
sounding like Yoda telling you to stay away from the dark side of The Force – for
"good."
And by "good," I simply mean what I think the true purpose of advertising should
be:
True marketing and honest advertising aims only to connect worthy sellers with
interested buyers.
That is, responsible advertising builds relationships. GOOD, responsible
advertising only hastens them.
And with that in mind, here's my spin on some of Cialdini's most interesting
findings …
1. USE THE POWER OF "BECAUSE."
In one of the experiments in Cialdini's book, a Harvard psychologist gives a
subject a stack of papers and tells him or her to approach a line cued up at
a photocopy machine.
The subject is supposed to say, "Excuse me, I've got five pages. May I jump
in and use the machine?"
In 60% of the attempts, the line let the subject jump in and make copies.
But when the second sentence was changed to "May I jump in and use the
machine, because I'm in a rush" … an astounding 94% gave the go ahead!
Why? Because reasons persuade reasonable people. Or so you would
assume. But in the experiment, even when the words after "because" were
5 Shockingly Simple Ways to Influence Your Buyer
Dr. Robert Cialdini is neither copywriter nor marketer. He's a psychologist. He has
a graduate degree from Columbia. He's also the author of the destined-to-be
marketing classic, "Influence: The Psychology of Persuasion."
" I can admit it freely now," says Cialdini in the book's forward, "All my life I've
been a patsy."
He wrote the book, he says, because it occurred to him that he, himself, had been
persuaded over and over again to do and buy things he didn't want or need. He
wanted to figure out how it had happened. And he wanted to share those findings
so others could avoid the same fate.
A noble cause.
Our cause, I believe, is equally noble.
We're not REALLY out to use what Cialdini found to persuade people to do things
they don't want to do. Rather, we're going to use what he found – at the risk of
sounding like Yoda telling you to stay away from the dark side of The Force – for
"good."
And by "good," I simply mean what I think the true purpose of advertising should
be:
True marketing and honest advertising aims only to connect worthy sellers with
interested buyers.
That is, responsible advertising builds relationships. GOOD, responsible
advertising only hastens them.
And with that in mind, here's my spin on some of Cialdini's most interesting
findings …
1. USE THE POWER OF "BECAUSE."
In one of the experiments in Cialdini's book, a Harvard psychologist gives a
subject a stack of papers and tells him or her to approach a line cued up at
a photocopy machine.
The subject is supposed to say, "Excuse me, I've got five pages. May I jump
in and use the machine?"
In 60% of the attempts, the line let the subject jump in and make copies.
But when the second sentence was changed to "May I jump in and use the
machine, because I'm in a rush" … an astounding 94% gave the go ahead!
Why? Because reasons persuade reasonable people. Or so you would
assume. But in the experiment, even when the words after "because" were
www.ProCopyWritingTactics.com
changed, the request still succeeded. Even when the "reason" was no good
reason at all! ("…because I need to make some copies.")
This simply suggests what I've said before. People search for reasons to
justify their actions. Even if what you're providing SOUNDS like a reason
but isn't, it can almost be good enough.
After reading about the above experiment in Cialdini's book, I find myself
using "because" in copy a lot more these days. Of course, I try to follow it
with true justification too.
2. CRAFT A MORE CREDIBLE IMAGE.
If you've seen "Catch Me If You Can," the movie about the 1950s conman
who built a career on projecting the IMAGE of authority (fake uniforms, fake
logos, carefully placed lingo) … you know this one already.
In medical circles, they call it the "white coat" or "stethoscope" effect.
Cialdini gives more than one example where patients in hospitals ignore
doctors who are out of uniform, but listen like school children to lab techs in
scrubs or lab coats.
Nobody likes to admit it, but we're inclined toward "shortcut" thinking.
Stereotypes. And assumptions.
Hence, the power of the uniform. Even holding a clipboard, according to
Cialdini's research, can do the trick.
If someone has the look of authority, it's often assumed that they ARE an
authority. A lot of bamboozling in the history of commerce owes its success
to this insight.
You are not, of course, out to bamboozle. But you need to take this into
account nonetheless … especially when you compile the credibility of
whatever worthy service or product you're trying to sell. Make sure it looks
the part. Or lose the sale.
3. AIM FOR A PUBLIC COMMITMENT.
A student comes to your door and asks you to sign a petition … a soap
company invites customers to write a "Why I Love Sudsy Soap" es say …
your local supermarket gives you a free "I Shop at UberMart" bumper
sticker.
changed, the request still succeeded. Even when the "reason" was no good
reason at all! ("…because I need to make some copies.")
This simply suggests what I've said before. People search for reasons to
justify their actions. Even if what you're providing SOUNDS like a reason
but isn't, it can almost be good enough.
After reading about the above experiment in Cialdini's book, I find myself
using "because" in copy a lot more these days. Of course, I try to follow it
with true justification too.
2. CRAFT A MORE CREDIBLE IMAGE.
If you've seen "Catch Me If You Can," the movie about the 1950s conman
who built a career on projecting the IMAGE of authority (fake uniforms, fake
logos, carefully placed lingo) … you know this one already.
In medical circles, they call it the "white coat" or "stethoscope" effect.
Cialdini gives more than one example where patients in hospitals ignore
doctors who are out of uniform, but listen like school children to lab techs in
scrubs or lab coats.
Nobody likes to admit it, but we're inclined toward "shortcut" thinking.
Stereotypes. And assumptions.
Hence, the power of the uniform. Even holding a clipboard, according to
Cialdini's research, can do the trick.
If someone has the look of authority, it's often assumed that they ARE an
authority. A lot of bamboozling in the history of commerce owes its success
to this insight.
You are not, of course, out to bamboozle. But you need to take this into
account nonetheless … especially when you compile the credibility of
whatever worthy service or product you're trying to sell. Make sure it looks
the part. Or lose the sale.
3. AIM FOR A PUBLIC COMMITMENT.
A student comes to your door and asks you to sign a petition … a soap
company invites customers to write a "Why I Love Sudsy Soap" es say …
your local supermarket gives you a free "I Shop at UberMart" bumper
sticker.
www.ProCopyWritingTactics.com
Who would have thought they learned these techniques from the
interrogators working for the Communist Chinese? It's true. Sort of.
During World War II, the Japanese tried to torture confessions out of Allied
prisoners. For the most part, it didn't work.
The Chinese, however, held essay contests.
First, they asked American prisoners to admit to small things, e.g., "The
American system isn't 'perfect' is it? Nothing, after all, is perfect."
" Yes, that's true," the prisoner would have to concede. Then, the captors
would invite the prisoner to list some of the ways America might not be
perfect. Long lists were rewarded with small prizes (rice, cigarettes, etc.).
The captors would invite the prisoner to read the list in a discussion group.
And then hold essay contests – again in exchange for small rewards – to
see who could make the best essay from the list.
Small concessions. Kid stuff. But not quite.
The concessions seemed painless compared to the torture the prisoners
expected. But by the time the hook was in, the captors had the prisoners
reading their statements on public radio. And after the
war, back home in the U.S., telling others that maybe communism was a
good idea for Asia after all.
How could they, the prisoners, go back on what they'd defended so carefully
… and publicly?
The human mind isn't built for that. And here's where this bizarre little
insight actually applies to LEGITIMATE marketing …
If you've got a good product and a happy customer, give them a chance to
boast about it. With gift offers for family and friends. Membership cards.
Invitations to send in testimonials. And more. Same principle, but a more
noble application.
4. MAKE ROOM FOR A BUYER'S "INNER CHOICE."
You don't have to take my word on all this. Read the research for yourself
and you decide. I'm sure you're going to agree.
Why am I so sure? Well, for one thing because I'm giving you the
opportunity to do so. Almost all of us like to make choices for ourselves
rather than have others make our choices for us. Likewise, if we're backed
into a corner by a choice, even if we accept that decision … we're less likely
to feel good about it or loyal to it later.
Cialdini gives an example of kids in a playroom.
Who would have thought they learned these techniques from the
interrogators working for the Communist Chinese? It's true. Sort of.
During World War II, the Japanese tried to torture confessions out of Allied
prisoners. For the most part, it didn't work.
The Chinese, however, held essay contests.
First, they asked American prisoners to admit to small things, e.g., "The
American system isn't 'perfect' is it? Nothing, after all, is perfect."
" Yes, that's true," the prisoner would have to concede. Then, the captors
would invite the prisoner to list some of the ways America might not be
perfect. Long lists were rewarded with small prizes (rice, cigarettes, etc.).
The captors would invite the prisoner to read the list in a discussion group.
And then hold essay contests – again in exchange for small rewards – to
see who could make the best essay from the list.
Small concessions. Kid stuff. But not quite.
The concessions seemed painless compared to the torture the prisoners
expected. But by the time the hook was in, the captors had the prisoners
reading their statements on public radio. And after the
war, back home in the U.S., telling others that maybe communism was a
good idea for Asia after all.
How could they, the prisoners, go back on what they'd defended so carefully
… and publicly?
The human mind isn't built for that. And here's where this bizarre little
insight actually applies to LEGITIMATE marketing …
If you've got a good product and a happy customer, give them a chance to
boast about it. With gift offers for family and friends. Membership cards.
Invitations to send in testimonials. And more. Same principle, but a more
noble application.
4. MAKE ROOM FOR A BUYER'S "INNER CHOICE."
You don't have to take my word on all this. Read the research for yourself
and you decide. I'm sure you're going to agree.
Why am I so sure? Well, for one thing because I'm giving you the
opportunity to do so. Almost all of us like to make choices for ourselves
rather than have others make our choices for us. Likewise, if we're backed
into a corner by a choice, even if we accept that decision … we're less likely
to feel good about it or loyal to it later.
Cialdini gives an example of kids in a playroom.
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Outright threats not to touch a certain toy ("Don't play with the robot or
you won't get cookies.") stopped working when the observer stepped out of
the room.
Because it wasn't a choice. It was just a rule and a possible outcome,
imposed without reason. Short term, this can get a result. But long term
…or when it counts … those results don't always reproduce.
However, when the reason was given and the responsibility for making the
right choice was assigned to the kid ("Playing with the robot is wrong. If
you play with the robot, I'll be very disappointed in you."), a shocking
number of children wouldn't touch the thing. Even when left alone. What's
more, they would take it on themselves to encourage new kids to make the
same decision.
Now, I don't have kids yet. So you really SHOULDN'T rely on my prodding.
Take a look at the research for yourself and make up your own mind. But
once you have, I think you'll agree that it's pretty convincing.
That is, for better sales results, craft your offer so it's the customer who has
to make the choice. Rather than you, the seller, trying to ram it down his
throat.
5. PINPOINT THE PURPOSE.
In the 1960s, dozens of New Yorkers heard a woman's screams. They
leaned out their windows. They listened. They did nothing.
Catherine Genovese was stabbed to death that night. And for years, the
story was used as proof that people – especially people in cities – were
getting more and more cold-hearted.
New research suggests the problem wasn't a cold heart, but a confused
one.
38 people were interviewed afterward.
They were terrified during the event and just after the event. But none of
them knew what to do. They felt "helpless" as they tried to figure out what
was happening.
But, says Cialdini, in cases where the cry for help is specific and clear,
people – even New Yorkers – actually spring to help. He even recommends,
if you're in trouble, to immediately try to lock eyes with someone nearby
and target them: "You in the blue suit, I need help!"
Outright threats not to touch a certain toy ("Don't play with the robot or
you won't get cookies.") stopped working when the observer stepped out of
the room.
Because it wasn't a choice. It was just a rule and a possible outcome,
imposed without reason. Short term, this can get a result. But long term
…or when it counts … those results don't always reproduce.
However, when the reason was given and the responsibility for making the
right choice was assigned to the kid ("Playing with the robot is wrong. If
you play with the robot, I'll be very disappointed in you."), a shocking
number of children wouldn't touch the thing. Even when left alone. What's
more, they would take it on themselves to encourage new kids to make the
same decision.
Now, I don't have kids yet. So you really SHOULDN'T rely on my prodding.
Take a look at the research for yourself and make up your own mind. But
once you have, I think you'll agree that it's pretty convincing.
That is, for better sales results, craft your offer so it's the customer who has
to make the choice. Rather than you, the seller, trying to ram it down his
throat.
5. PINPOINT THE PURPOSE.
In the 1960s, dozens of New Yorkers heard a woman's screams. They
leaned out their windows. They listened. They did nothing.
Catherine Genovese was stabbed to death that night. And for years, the
story was used as proof that people – especially people in cities – were
getting more and more cold-hearted.
New research suggests the problem wasn't a cold heart, but a confused
one.
38 people were interviewed afterward.
They were terrified during the event and just after the event. But none of
them knew what to do. They felt "helpless" as they tried to figure out what
was happening.
But, says Cialdini, in cases where the cry for help is specific and clear,
people – even New Yorkers – actually spring to help. He even recommends,
if you're in trouble, to immediately try to lock eyes with someone nearby
and target them: "You in the blue suit, I need help!"
www.ProCopyWritingTactics.com
In four staged experiments in Florida, a "fallen worker" near power lines
was able to coax emergency aid 90% of the time from passersby. But when
he said nothing, most gawked, looked panicked, then hurried past.
It's not just in requesting help where this applies.
It's just as true when pitching something positive, like an offer. It's
surprising how often a pitch seems clear but leaves the prospect not
knowing what was offered.
Be clear. Write the offer first. Write to one prospect only and know what
you're selling, as well as what it will do, precisely, for the prospect … even
before you begin writing your first word of copy. Just doing that can make a
huge difference in your results.
All the above is my spin on Cialdini's research. If you really want to read
something fascinating, I suggest you pick up the original book. Of course, I leave
that to you to decide.
In four staged experiments in Florida, a "fallen worker" near power lines
was able to coax emergency aid 90% of the time from passersby. But when
he said nothing, most gawked, looked panicked, then hurried past.
It's not just in requesting help where this applies.
It's just as true when pitching something positive, like an offer. It's
surprising how often a pitch seems clear but leaves the prospect not
knowing what was offered.
Be clear. Write the offer first. Write to one prospect only and know what
you're selling, as well as what it will do, precisely, for the prospect … even
before you begin writing your first word of copy. Just doing that can make a
huge difference in your results.
All the above is my spin on Cialdini's research. If you really want to read
something fascinating, I suggest you pick up the original book. Of course, I leave
that to you to decide.
www.ProCopyWritingTactics.com
Seven Ways to Encourage Better Copy Critiques
Great editors can make a piece of writing come alive.
The same goes for all kinds of writing, including copywriting. The more focused
the copy review, the tighter and more persuasive your copy will be in the end. For
those reasons – and because it's often very difficult to spot your own mistakes –
it's essential to get critiques on your copy. The earlier in the drafting process, the
better.
Unfortunately, getting the kind of in-depth feedback you require isn't always easy.
Which is why, this week, we're going to look at seven ways (among many) to
keep your copy reviewers on track and get them to do their best work for you.
1) Quantify Your Demands:
Let the person or people you're asking to review your copy know how much you
want from them. For instance, you could try saying something like …
" This is a pretty important promo piece, so I want you to give it a thorough
review. On an intensity scale of 1 to 10, give it at least a 'level 8' looking over."
Seven Ways to Encourage Better Copy Critiques
Great editors can make a piece of writing come alive.
The same goes for all kinds of writing, including copywriting. The more focused
the copy review, the tighter and more persuasive your copy will be in the end. For
those reasons – and because it's often very difficult to spot your own mistakes –
it's essential to get critiques on your copy. The earlier in the drafting process, the
better.
Unfortunately, getting the kind of in-depth feedback you require isn't always easy.
Which is why, this week, we're going to look at seven ways (among many) to
keep your copy reviewers on track and get them to do their best work for you.
1) Quantify Your Demands:
Let the person or people you're asking to review your copy know how much you
want from them. For instance, you could try saying something like …
" This is a pretty important promo piece, so I want you to give it a thorough
review. On an intensity scale of 1 to 10, give it at least a 'level 8' looking over."
www.ProCopyWritingTactics.com
Likewise, ask them to quantify the results: "Overall, on a scale of 1 to 10, how
well does this package meet the goals you're looking for?"
2) Give Them a Time Limit:
My old friend and colleague Deeba Jaffri never lost sight of the value of a
deadline. She reviewed copy quickly. A two-day turnaround tops.
She also kept other reviewers on track.
Occasionally, she'd ask me to look at copy another copywriter had turned in: "Do
you think you could get your comments back to me by Tuesday morning?" she'd
say as she handed me the draft. "I've scheduled a conference call with the writer
for 11 am."
If she hadn't made that preface a habit, who knows how many drafts would have
piled up unread until the last possible minute?
3) Offer a Comparison:
Handing someone a piece of copy and saying, "What do you think of this?" is an
open-ended request.
You'll close off a reluctant reviewer's escape routes much more effectively if you
ask instead for a comparative critique, like so:
" Bob," you say, "I've just e-mailed you the first draft of my new promo. It has
two headlines. Which one do you like better?"
And then, once you've hooked the reviewer's attention, you can throw in, "And
while you're looking it over, any suggestions you have on the body copy would be
terrific."
4) Play Politics:
One way to spur on a reviewer is to tell him or her – before you've been asked –
that someone else has reviewed and rendered an opinion of the same piece.
Be careful. Playing personal dynamics is always risky. Just the same, simply
knowing that the promo copy is being actively reviewed and opinions are forming
can help convince the laggards that your package is worth looking over. And
sooner rather than later.
Tip #1: Don't reveal the opinion of the other reviewer unless you have more than
one to reveal. And only then if the other opinions have differed:
Likewise, ask them to quantify the results: "Overall, on a scale of 1 to 10, how
well does this package meet the goals you're looking for?"
2) Give Them a Time Limit:
My old friend and colleague Deeba Jaffri never lost sight of the value of a
deadline. She reviewed copy quickly. A two-day turnaround tops.
She also kept other reviewers on track.
Occasionally, she'd ask me to look at copy another copywriter had turned in: "Do
you think you could get your comments back to me by Tuesday morning?" she'd
say as she handed me the draft. "I've scheduled a conference call with the writer
for 11 am."
If she hadn't made that preface a habit, who knows how many drafts would have
piled up unread until the last possible minute?
3) Offer a Comparison:
Handing someone a piece of copy and saying, "What do you think of this?" is an
open-ended request.
You'll close off a reluctant reviewer's escape routes much more effectively if you
ask instead for a comparative critique, like so:
" Bob," you say, "I've just e-mailed you the first draft of my new promo. It has
two headlines. Which one do you like better?"
And then, once you've hooked the reviewer's attention, you can throw in, "And
while you're looking it over, any suggestions you have on the body copy would be
terrific."
4) Play Politics:
One way to spur on a reviewer is to tell him or her – before you've been asked –
that someone else has reviewed and rendered an opinion of the same piece.
Be careful. Playing personal dynamics is always risky. Just the same, simply
knowing that the promo copy is being actively reviewed and opinions are forming
can help convince the laggards that your package is worth looking over. And
sooner rather than later.
Tip #1: Don't reveal the opinion of the other reviewer unless you have more than
one to reveal. And only then if the other opinions have differed:
www.ProCopyWritingTactics.com
" Hey Matilda, can you help me on this? Froderick says he finds my U.S.P. a little
on the foppish side of the fence. Emmatrude says it reminds her of the forward to
the 1967 Poultry and Grain report. What do you think?"
Tip #2: With sincerity, you can also remind a reviewer – especially the marketing
manager closest to the project – of the stake they have in the outcome: "Here's
the draft … I think it's good, but with your input, I think we can beat your current
control."
Be careful here too. Said with insincerity, this ploy could backfire and make you
sound like a sap or a suck-up.
5) Take Your Copy to Someone New:
What we call a "cold read" is, technically speaking, when you give your marketing
copy to several reviewers at once – each of whom has no prior background with
the copy or the product.
If they want to buy the product your copy pitches, you've done your job. If not,
gather their reviews into one place and see where they overlap. That's where
you'll find the most opportunity for improvement.
Tip #3: You'll get your best "cold read" results if you make your review group a
healthy mix of experienced marketers and random, non -professional readers.
6) Offer Different Feedback Options:
Some people are "conference call" types. Others can't unleash over the phone or
in a group context. But they'll give you a pile of great comments and suggestions
on paper.
Only you can surmise what will work best for your reviewer. But if you're working
with someone new, it's hard to know which venue will work best.
Solution: Ask. Offer a choice. When you give a draft of the promo to a client, say,
"Would you rather give me written feedback? Or should I schedule a conference
call on, say, next Tuesday?"
7) Dangle a Carrot:
One way to get a reviewer to work quickly, if not thoroughly too, is to offer some
extra incentive for getting the review done on time.
" If you can get this back to me by Wednesday – depending on what you think of
the copy – I can get you a second draft before the weekend."
" Hey Matilda, can you help me on this? Froderick says he finds my U.S.P. a little
on the foppish side of the fence. Emmatrude says it reminds her of the forward to
the 1967 Poultry and Grain report. What do you think?"
Tip #2: With sincerity, you can also remind a reviewer – especially the marketing
manager closest to the project – of the stake they have in the outcome: "Here's
the draft … I think it's good, but with your input, I think we can beat your current
control."
Be careful here too. Said with insincerity, this ploy could backfire and make you
sound like a sap or a suck-up.
5) Take Your Copy to Someone New:
What we call a "cold read" is, technically speaking, when you give your marketing
copy to several reviewers at once – each of whom has no prior background with
the copy or the product.
If they want to buy the product your copy pitches, you've done your job. If not,
gather their reviews into one place and see where they overlap. That's where
you'll find the most opportunity for improvement.
Tip #3: You'll get your best "cold read" results if you make your review group a
healthy mix of experienced marketers and random, non -professional readers.
6) Offer Different Feedback Options:
Some people are "conference call" types. Others can't unleash over the phone or
in a group context. But they'll give you a pile of great comments and suggestions
on paper.
Only you can surmise what will work best for your reviewer. But if you're working
with someone new, it's hard to know which venue will work best.
Solution: Ask. Offer a choice. When you give a draft of the promo to a client, say,
"Would you rather give me written feedback? Or should I schedule a conference
call on, say, next Tuesday?"
7) Dangle a Carrot:
One way to get a reviewer to work quickly, if not thoroughly too, is to offer some
extra incentive for getting the review done on time.
" If you can get this back to me by Wednesday – depending on what you think of
the copy – I can get you a second draft before the weekend."
www.ProCopyWritingTactics.com
There are, as I said, many other ways to coax out a more full and timely critique.
One last bonus tip: Make good use of recently available technology.
For instance, one of my favorite ways to get and give feedback is built into
Microsoft Word software.
It's the "track changes" feature found under the Tools menu. There, you'll find a
submenu for tracking changes with the option "Highlight changes …"
Check that box and, until you uncheck it, everything new that someone types into
the document will show up in a different color. And every line deleted will stay in
the document with a line through it.
Once you've gone through the document and decided which changes to keep and
which to get rid of, you can go back under the same submenu and "Accept
changes."
All of the above, by the way, is assuming that you CAN take a good solid round of
criticism on your copy. In almost every review situation, the professional resists
the urge to be defensive. You won't make it anywhere in this business if you
can't.
If a reviewer is especially harsh or especially verbose, just listen. "Most people,"
observed Hemingway, "never listen." How true.
There are, as I said, many other ways to coax out a more full and timely critique.
One last bonus tip: Make good use of recently available technology.
For instance, one of my favorite ways to get and give feedback is built into
Microsoft Word software.
It's the "track changes" feature found under the Tools menu. There, you'll find a
submenu for tracking changes with the option "Highlight changes …"
Check that box and, until you uncheck it, everything new that someone types into
the document will show up in a different color. And every line deleted will stay in
the document with a line through it.
Once you've gone through the document and decided which changes to keep and
which to get rid of, you can go back under the same submenu and "Accept
changes."
All of the above, by the way, is assuming that you CAN take a good solid round of
criticism on your copy. In almost every review situation, the professional resists
the urge to be defensive. You won't make it anywhere in this business if you
can't.
If a reviewer is especially harsh or especially verbose, just listen. "Most people,"
observed Hemingway, "never listen." How true.
www.ProCopyWritingTactics.com
How to Turn Your Pile of Research into a Seamless
Promotional Package
The next time you're faced with many unfocused ideas … or too few focused ones
… here's a step-by-step idea generator that never fails. It's designed for
information products. But you can adapt as necessary.
Start with a table and five sheets of paper.
Write the following, one item per sheet:
1. The Target
2. The Product
3. Credibility
4. The Facts
5. The Offer
Now start building …
1. The Target – Pile up a customer profile. Warm up with the general, aim for
the specific. Demographics and mailing lists. Surveys and focus groups.
Attend a conference, sit in the back, and write down phrases that make
heads nod. Eavesdrop on after-talk conversations with speakers. Talk to
customer service. Visit related chat rooms and ask questions. Pick a friend
most like your customer and hand-write a personality profile that would
make the FBI proud. Then move on to building the next pile.
How to Turn Your Pile of Research into a Seamless
Promotional Package
The next time you're faced with many unfocused ideas … or too few focused ones
… here's a step-by-step idea generator that never fails. It's designed for
information products. But you can adapt as necessary.
Start with a table and five sheets of paper.
Write the following, one item per sheet:
1. The Target
2. The Product
3. Credibility
4. The Facts
5. The Offer
Now start building …
1. The Target – Pile up a customer profile. Warm up with the general, aim for
the specific. Demographics and mailing lists. Surveys and focus groups.
Attend a conference, sit in the back, and write down phrases that make
heads nod. Eavesdrop on after-talk conversations with speakers. Talk to
customer service. Visit related chat rooms and ask questions. Pick a friend
most like your customer and hand-write a personality profile that would
make the FBI proud. Then move on to building the next pile.
www.ProCopyWritingTactics.com
2. The Product – Start this pile with a year's worth of issues or a product
sample. On a piece of paper, list features. Print out e-mails to customers.
Tally up track records. Interview the editor or owner about product history.
Take it apart like a watch and make notes. Limit this pile only to notes and
clippings directly from the core product. Next pile.
3. Credibility – Start with testimonial letters. Then read surveys. Look for
customers to contact and interview. Especially those with a detailed success
story. Pile up clippings about the editor or the product. You're looking for
things that would make it into the forward to a biography or the liner notes
of a book. Interview editors over the phone. Jot down notes on school and
career experience. But get personal too, where you can. In this pile, third-
party validation, personal stories, and track record are what count.
4. The Facts – Photocopy information-based products for charts, tables, and
statistics. Scan the editorial for recommended reading … and then look for
supporting logic in those recommended texts. Collect copies of sourced
articles. Surf the Web using keywords creatively. Google.com is the search
engine to use. Don't bookmark. Print out articles instead. Eight to 10
relevant articles should be good enough. Facts validate emotional sales
pitches. Gather to over-prove. We'll cut the excess during revision.
5. The Offer – Save this last pile for premiums, past guarantees, and specs
on price, delivery, and extras like websites, telephone hotlines, customer-
service numbers, address, and reply instructions. Question the history and
logic of product price. How does it compare with similar services? Set a
deadline on orders that makes sense. These details are essential. Knowing
the offer beforehand will give you focus.
If you've done this right, your table should be sagging.
Now, we'll knock out each pile one by one, converting research into marketable
ideas.
Take a stack of 3"x5" index cards. Start with the first pile. Piece by piece, take
notes. One sales point per card. If you can, write your notes as copy. Come
across a feature, write it on the index card as a benefit. Turn hot stories into
package headlines. Resist the temptation to fill both sides of a card.
2. The Product – Start this pile with a year's worth of issues or a product
sample. On a piece of paper, list features. Print out e-mails to customers.
Tally up track records. Interview the editor or owner about product history.
Take it apart like a watch and make notes. Limit this pile only to notes and
clippings directly from the core product. Next pile.
3. Credibility – Start with testimonial letters. Then read surveys. Look for
customers to contact and interview. Especially those with a detailed success
story. Pile up clippings about the editor or the product. You're looking for
things that would make it into the forward to a biography or the liner notes
of a book. Interview editors over the phone. Jot down notes on school and
career experience. But get personal too, where you can. In this pile, third-
party validation, personal stories, and track record are what count.
4. The Facts – Photocopy information-based products for charts, tables, and
statistics. Scan the editorial for recommended reading … and then look for
supporting logic in those recommended texts. Collect copies of sourced
articles. Surf the Web using keywords creatively. Google.com is the search
engine to use. Don't bookmark. Print out articles instead. Eight to 10
relevant articles should be good enough. Facts validate emotional sales
pitches. Gather to over-prove. We'll cut the excess during revision.
5. The Offer – Save this last pile for premiums, past guarantees, and specs
on price, delivery, and extras like websites, telephone hotlines, customer-
service numbers, address, and reply instructions. Question the history and
logic of product price. How does it compare with similar services? Set a
deadline on orders that makes sense. These details are essential. Knowing
the offer beforehand will give you focus.
If you've done this right, your table should be sagging.
Now, we'll knock out each pile one by one, converting research into marketable
ideas.
Take a stack of 3"x5" index cards. Start with the first pile. Piece by piece, take
notes. One sales point per card. If you can, write your notes as copy. Come
across a feature, write it on the index card as a benefit. Turn hot stories into
package headlines. Resist the temptation to fill both sides of a card.
www.ProCopyWritingTactics.com
At this stage, don't try to edit your ideas. Just open up the floodgates and let
them flow.
Here's the first benefit. When you've gone through each of the stacks, you'll have
more knowledge about your product than you ever had before. And many more
ideas on how it could be sold.
Now you have something with which to build.
There are all kinds of famous sales-pitch structures you can use. The one you've
seen recommended most here is "PPPP" … or "Promise, Picture, Proof, Push."
You can put your scraps of information, your article clippings, and everything else
aside. Because now everything you'll need is on the index cards.
At this point, I recommend you take a break. An hour. An afternoon. Even
overnight.
You'll want to come back to the different cards with fresh eyes, so you can strip
out distracting points, redundancies, and things that just don't feel like they
belong.
Once again, we're refining. Polishing.
Once this is done, what you're going to do is start sorting according to the "PPPP"
sales-pitch model.
The "Promise" pile gets all the cards that best describe product benefits …
The "Picture" pile gets those vivid, descriptive cards that make the benefits or the
emotional context of the pitch feel vivid.
In the "Proof" pile, place any cards with strong statistics, facts, figures, and
testimonials…
Finally, in the "Push" pile, set aside any cards that seem most related to
describing the sales offer.
With this technique, creativity is almost automatic … a sorting exercise. If you've
done your work right, you can almost pile up the stack in the proper "PPPP" order
and start typing.
If you still feel overwhelmed, you might want to reorganize your ideas within each
of these four new stacks. Though, the more experienced you become, the less
this will feel necessary.
It's tedious at first. But there may be no better way to train your mind to spot
selling opportunities within a pile of untamed information.
Give it a try. I'm sure you'll be impressed with the results.
At this stage, don't try to edit your ideas. Just open up the floodgates and let
them flow.
Here's the first benefit. When you've gone through each of the stacks, you'll have
more knowledge about your product than you ever had before. And many more
ideas on how it could be sold.
Now you have something with which to build.
There are all kinds of famous sales-pitch structures you can use. The one you've
seen recommended most here is "PPPP" … or "Promise, Picture, Proof, Push."
You can put your scraps of information, your article clippings, and everything else
aside. Because now everything you'll need is on the index cards.
At this point, I recommend you take a break. An hour. An afternoon. Even
overnight.
You'll want to come back to the different cards with fresh eyes, so you can strip
out distracting points, redundancies, and things that just don't feel like they
belong.
Once again, we're refining. Polishing.
Once this is done, what you're going to do is start sorting according to the "PPPP"
sales-pitch model.
The "Promise" pile gets all the cards that best describe product benefits …
The "Picture" pile gets those vivid, descriptive cards that make the benefits or the
emotional context of the pitch feel vivid.
In the "Proof" pile, place any cards with strong statistics, facts, figures, and
testimonials…
Finally, in the "Push" pile, set aside any cards that seem most related to
describing the sales offer.
With this technique, creativity is almost automatic … a sorting exercise. If you've
done your work right, you can almost pile up the stack in the proper "PPPP" order
and start typing.
If you still feel overwhelmed, you might want to reorganize your ideas within each
of these four new stacks. Though, the more experienced you become, the less
this will feel necessary.
It's tedious at first. But there may be no better way to train your mind to spot
selling opportunities within a pile of untamed information.
Give it a try. I'm sure you'll be impressed with the results.
www.ProCopyWritingTactics.com
John Forde (along with dozens of other master copywriters) will be sharing more
secrets to writing blockbuster controls at the AWAI Fast Track to Success
Bootcamp & Jobfair.
The Real Meaning of "Good Writing"
Michael Masterson once said, "If any wish to write in a clear style, let him be first
clear in his thoughts; and if any would write in a noble style, let him first possess
a noble soul."
No, wait. Goethe said that.
But I assure you, Masterson meant the same thing when he said, over the phone
the other day, "You know what makes good writing? A good thought, tightly
expressed. Clear thinking. If you haven't got that, it doesn't matter how pretty
you make your prose."
How true … how humbling.
How many times have you tried to climb into a book dripping with delicious
adjectives and adverbs … only to find it bores you silly?
How many tight, plot-powered novels have to sell out before the literary glitterati
'fess up and pay due homage?
Good copy sticks to the same principle. "One idea, tightly expressed," says
Masterson, "is much stronger than a heap of notions tangled in a mess."
Discover the art to writing tight, compelling copy that sells with AWAI‘s
Accelerated program for Six-Figure Copywriting.
John Forde (along with dozens of other master copywriters) will be sharing more
secrets to writing blockbuster controls at the AWAI Fast Track to Success
Bootcamp & Jobfair.
The Real Meaning of "Good Writing"
Michael Masterson once said, "If any wish to write in a clear style, let him be first
clear in his thoughts; and if any would write in a noble style, let him first possess
a noble soul."
No, wait. Goethe said that.
But I assure you, Masterson meant the same thing when he said, over the phone
the other day, "You know what makes good writing? A good thought, tightly
expressed. Clear thinking. If you haven't got that, it doesn't matter how pretty
you make your prose."
How true … how humbling.
How many times have you tried to climb into a book dripping with delicious
adjectives and adverbs … only to find it bores you silly?
How many tight, plot-powered novels have to sell out before the literary glitterati
'fess up and pay due homage?
Good copy sticks to the same principle. "One idea, tightly expressed," says
Masterson, "is much stronger than a heap of notions tangled in a mess."
Discover the art to writing tight, compelling copy that sells with AWAI‘s
Accelerated program for Six-Figure Copywriting.
www.ProCopyWritingTactics.com
9 Power-Proofreading Tips for Sales Copy
When money talks, nobody notices the grammar it uses. I don't remember who
said that. But it was probably a copywriter.
Yep. We're universally renowned for not sweating the small stuff. And,
unfortunately, for not always proofreading our work before turning it in.
Anyway, today I'm going to talk about proofreading. Not just the conventional
kind, done with "AP Stylebook" and red marker in hand … but proofing that
applies DIRECTLY to sales copy in particular.
So, without further adoo … adue … (er, ahem) ado …
First of all, writers of all kinds constantly mistake the task of proofreading for
copyediting.
Proofreaders look for so-called "surface flaws." Grammatical speed bumps. Klutzy
word choices. Creative spelling. And all those other little wrinkles that rankle your
reader and distract him or her from your message.
A copyeditor, on the other hand, goes deeper.
He looks for leads that go straight to the point … structure that works throughout
…descriptive images that are relevant … moments of sarcasm or specialized
humor that might lose a reader …
In short, he does what you should be doing ALREADY when you re -craft your own
first draft. Only he does it a second time. As a fail-safe.
As I said, there are general rules of proofreading that apply to almost all writing.
You can look those up online. Lists of common spelling mistakes and the like
9 Power-Proofreading Tips for Sales Copy
When money talks, nobody notices the grammar it uses. I don't remember who
said that. But it was probably a copywriter.
Yep. We're universally renowned for not sweating the small stuff. And,
unfortunately, for not always proofreading our work before turning it in.
Anyway, today I'm going to talk about proofreading. Not just the conventional
kind, done with "AP Stylebook" and red marker in hand … but proofing that
applies DIRECTLY to sales copy in particular.
So, without further adoo … adue … (er, ahem) ado …
First of all, writers of all kinds constantly mistake the task of proofreading for
copyediting.
Proofreaders look for so-called "surface flaws." Grammatical speed bumps. Klutzy
word choices. Creative spelling. And all those other little wrinkles that rankle your
reader and distract him or her from your message.
A copyeditor, on the other hand, goes deeper.
He looks for leads that go straight to the point … structure that works throughout
…descriptive images that are relevant … moments of sarcasm or specialized
humor that might lose a reader …
In short, he does what you should be doing ALREADY when you re -craft your own
first draft. Only he does it a second time. As a fail-safe.
As I said, there are general rules of proofreading that apply to almost all writing.
You can look those up online. Lists of common spelling mistakes and the like
www.ProCopyWritingTactics.com
("there" vs. "their," for example) are posted on about a thousand different
websites.
However, while I won't get into those more conventional ideas of proofreading … I
WILL share something more up my alley today. Proofreading secrets as they
might be specifically applied to writing better marketing copy.
This won't be a comprehensive view. Just a sampling. That said, here are 9 quick
tips:
1. NUMBERS HAVE IMPACT: Statistics, percentages, dollar amounts …
numbers can hit harder than words, if used properly. A small personal
preference – wrong as it may be according to the style guides – I prefer
to use the actual number in print (9 … 3 … 5,632%) when possible.
Rather than use the spelled-out "nine" or "three" or so on. (Though
"five-thousand-six-hundred-and-thirty-two percent" has a nice ring to
it.)
2. GET BACK THAT "CONVERSATIONAL TONE" : The grand-daddy of
rules about copy is that we're supposed to "write like people talk." This
is NOT, however, an excuse for sloppy writing. Rather, it means, among
other things … using more clipped phrasing … shorter sentences …
smaller words … lots of contractions …and even a lot of these ("…")
things.
You get the picture.
In some ways, making yourself do that while writing the first draft requires
MORE vigilance, not less. Because we're taught in school that good writing
is dense and literary.
If you worried you didn't get it right the first time around, no problem.
Simply hit the "find" feature on your word-processor and start searching.
See how many words you can find ending in "tion" and "sion" … or "ance"
and "ate" … or "able" and "ment." You might be able to eliminate some of
them.
Then go back and search for "cannot" or "is not" or any other opportunities
to pull words together.
The basic idea – you want words that are easily absorbed and let the
message shine through.
3. A GUARANTEED PROSE ACCELERATOR : "Americans say 'that' very
often," observes Silvie, my French teacher. Indeed we do. However, it's a
good rule of writing to cut back on 'that' where one can. And here once
("there" vs. "their," for example) are posted on about a thousand different
websites.
However, while I won't get into those more conventional ideas of proofreading … I
WILL share something more up my alley today. Proofreading secrets as they
might be specifically applied to writing better marketing copy.
This won't be a comprehensive view. Just a sampling. That said, here are 9 quick
tips:
1. NUMBERS HAVE IMPACT: Statistics, percentages, dollar amounts …
numbers can hit harder than words, if used properly. A small personal
preference – wrong as it may be according to the style guides – I prefer
to use the actual number in print (9 … 3 … 5,632%) when possible.
Rather than use the spelled-out "nine" or "three" or so on. (Though
"five-thousand-six-hundred-and-thirty-two percent" has a nice ring to
it.)
2. GET BACK THAT "CONVERSATIONAL TONE" : The grand-daddy of
rules about copy is that we're supposed to "write like people talk." This
is NOT, however, an excuse for sloppy writing. Rather, it means, among
other things … using more clipped phrasing … shorter sentences …
smaller words … lots of contractions …and even a lot of these ("…")
things.
You get the picture.
In some ways, making yourself do that while writing the first draft requires
MORE vigilance, not less. Because we're taught in school that good writing
is dense and literary.
If you worried you didn't get it right the first time around, no problem.
Simply hit the "find" feature on your word-processor and start searching.
See how many words you can find ending in "tion" and "sion" … or "ance"
and "ate" … or "able" and "ment." You might be able to eliminate some of
them.
Then go back and search for "cannot" or "is not" or any other opportunities
to pull words together.
The basic idea – you want words that are easily absorbed and let the
message shine through.
3. A GUARANTEED PROSE ACCELERATOR : "Americans say 'that' very
often," observes Silvie, my French teacher. Indeed we do. However, it's a
good rule of writing to cut back on 'that' where one can. And here once
www.ProCopyWritingTactics.com
again, the "find" feature is your friend. Pluck out as many 'that'
occurrences as possible. You'll find it won't change the meaning in about
half of your sentences. But your "flow" will vastly improve.
4. REDUCE THE "COMMA CURVE": Call me guilty as charged. About half
the commas don't belong where I put them. The other half are
grammatically correct but create one long sentence where I should've
written two short ones. Apply seek-and-destroy tactics to excess
commas too. You'll be shocked by how much better your copy reads
afterward.
5. BULLETS, VERBS, AND NUMBERS: Here's something the average
grammarian wouldn't think of (of which the average grammarian
wouldn't think?): Bulleted lists of benefits, features, and facts are
ubiquitous (that means "all over the place") in sales copy. On a second
pass, I like to make sure most of those bullets start with a number, a
powerful verb, or – at least – a hook phrase like "how to.
6. THE RULE OF THE RHETORICAL "YES!” Have you ever noticed how
copywriters inject a lot of rhetorical questions into their copy? Have you
also noticed how a lot of those questions are written so the most likely
answer is "yes"? Don't you think this is done for a reason? And. if "yes",
don't you think it would be a good idea to SEARCH for "?" and make sure
you've done the same? Yes, I thought you'd say that.
7. THE ARM'S-LENGTH EDIT: Another step for a copywriter proofing his
or her own stuff: Hold the page at arm's length. See any big blocks of
text? Too much consistency in the length of your paragraphs? Or
anything else that looks awkward? Break it up. Pace it. Open with lots of
short paragraphs. Hit them with a 3-5 line paragraph. Then a couple of
two-liners. And so on. That's a suggestion, not a formula. Point is, keep
it interesting. Said Molière, "Tout le plaisir … est dans le changement." (I
got that from a postcard. It means, essentially, "Variety is the spice of
life.")
8. PUT IT TO PULP: The idea that you – or even a third-party proofreader
– can find your mistakes without first printing out the document is a
again, the "find" feature is your friend. Pluck out as many 'that'
occurrences as possible. You'll find it won't change the meaning in about
half of your sentences. But your "flow" will vastly improve.
4. REDUCE THE "COMMA CURVE": Call me guilty as charged. About half
the commas don't belong where I put them. The other half are
grammatically correct but create one long sentence where I should've
written two short ones. Apply seek-and-destroy tactics to excess
commas too. You'll be shocked by how much better your copy reads
afterward.
5. BULLETS, VERBS, AND NUMBERS: Here's something the average
grammarian wouldn't think of (of which the average grammarian
wouldn't think?): Bulleted lists of benefits, features, and facts are
ubiquitous (that means "all over the place") in sales copy. On a second
pass, I like to make sure most of those bullets start with a number, a
powerful verb, or – at least – a hook phrase like "how to.
6. THE RULE OF THE RHETORICAL "YES!” Have you ever noticed how
copywriters inject a lot of rhetorical questions into their copy? Have you
also noticed how a lot of those questions are written so the most likely
answer is "yes"? Don't you think this is done for a reason? And. if "yes",
don't you think it would be a good idea to SEARCH for "?" and make sure
you've done the same? Yes, I thought you'd say that.
7. THE ARM'S-LENGTH EDIT: Another step for a copywriter proofing his
or her own stuff: Hold the page at arm's length. See any big blocks of
text? Too much consistency in the length of your paragraphs? Or
anything else that looks awkward? Break it up. Pace it. Open with lots of
short paragraphs. Hit them with a 3-5 line paragraph. Then a couple of
two-liners. And so on. That's a suggestion, not a formula. Point is, keep
it interesting. Said Molière, "Tout le plaisir … est dans le changement." (I
got that from a postcard. It means, essentially, "Variety is the spice of
life.")
8. PUT IT TO PULP: The idea that you – or even a third-party proofreader
– can find your mistakes without first printing out the document is a
www.ProCopyWritingTactics.com
myth. (Sorry, trees, but it's better to do a proofing scan on paper than
on a computer screen.)
9. GIVE IT VOICE: I've said it a dozen times. I've only done it a couple (to
be honest), but I don't doubt that reading a piece of prose aloud is also
an EXCELLENT way to find mistakes – both superficial and under the
surface – that you otherwise might have missed.
John Forde will be a guest speaker at the AWAI Fast Track to Success Bootcamp
and Job Fair. Learn the copywriting tricks of the trade from masters like John
Forde, Michael Masterson, Don Mahoney, Bob Bly and others at this year‘s
bootcamp. Find out more.
For more great copywriting articles, free copywriting reports, copywriting tutorials
and more please visit www.procopywritingtactics.com
myth. (Sorry, trees, but it's better to do a proofing scan on paper than
on a computer screen.)
9. GIVE IT VOICE: I've said it a dozen times. I've only done it a couple (to
be honest), but I don't doubt that reading a piece of prose aloud is also
an EXCELLENT way to find mistakes – both superficial and under the
surface – that you otherwise might have missed.
John Forde will be a guest speaker at the AWAI Fast Track to Success Bootcamp
and Job Fair. Learn the copywriting tricks of the trade from masters like John
Forde, Michael Masterson, Don Mahoney, Bob Bly and others at this year‘s
bootcamp. Find out more.
For more great copywriting articles, free copywriting reports, copywriting tutorials
and more please visit www.procopywritingtactics.com
www.ProCopyWritingTactics.com
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