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Copywrite/Advertising

Put the Horse in the Theater and the Cow on the Roof -How to write sales copy that gets results

Did I ever tell you about the time my grandfather rode a horse down the center aisle of a movie theater in the middle of a show?

Pop (my grandfather) grew up in a small town in south central Kentucky. When this story happened, he was in his late teens—the age immortalized in the song lyric “old enough to know better, still too young to care.”

Pop saw a horse tethered on the town square, and an idea imprinted itself on his mind. He untied the horse, jumped on board, and trotted it to the end of town in a 1930s version of joyriding. At the town’s limits, though, there was only the Cumberland River, which at that time had no bridge. With nowhere to go, Pop turned the horse around and headed back to town.

For a teenage boy, joyriding a horse from town to the river wasn’t enough of a thrill. It was time to up the ante.

Pop saw the perfect opportunity. The town’s movie theater had just opened its doors. For a small fee, viewers could watch jerky, black-and-white Westerns. A show was in progress. People were inside. Another idea imprinted itself on his mind.

Somehow, Pop got that horse through the doors of the theater and rode it down the center aisle. The darkness, the unfamiliar sounds, and the (screaming) people inside terrified the horse. It went berserk in the middle of the theater. Somehow, Pop and the theater’s owner got the horse out of the theater and onto the square where it took Pop for a less-than-joyful ride back to the end of town. Before they reached the river, Pop fell off, and the horse found its own way home.

It was the one and only story Pop ever voluntarily told about his youth—except the one about the time he and his friends put a cow on the roof of the school.

What this has to do with copywriting (why you should keep reading)

Imagine being in the audience at a movie. It’s dark. It’s cool. There’s a story about horses and cowboys flashing in front of you. Maybe you’ve got an arm around a girl, or a guy has his arm around you. No wild man on a horse rides down the aisle. The movie ends.

You get home that night. Someone asks, “How was the movie?”

You say, “We had a good time. It was a Western. We ate popcorn.”

That day would eventually be lost in the haze of many such days.

But what about the people who were in the theater the day Pop rode a stolen horse down the center aisle? I bet those people had an electrifying story to tell when they got home! And I’ll bet they didn’t forget that day for a long time.

They were probably having a good time watching a story on the screen, but it was becoming actors in a far more dramatic and immediate story that made the day memorable for them.

I really do get to copywriting. Keep reading.

Today, an audience of people is consuming stories on blogs, on social media, and on printed letters stuffed in their mailboxes. The world is snowed under by written content, and storytelling is king. Your story must arrest the attention of a world already focused on a competing story.

How will your story be heard amidst all the noise? You’ve got to ride a horse into the middle of their movie.

To stand out, your story needs three elements:

Urgency

Call people to act now.

Remember the Law of Inertia? A body at rest will remain at rest; a body in motion will remain in motion. Your readers are at rest, and delay is comfortable. Don’t let them stay passive.

Urgency is especially important when writing fundraising letters. If you’re writing an appeal about a child who needs eye surgery or he’ll lose his sight, that’s not a good time to let your prospective donor delay. If what you wrote is true, your readers need to act now.

Make your prospect feel like they’re in a crowded theater with a wild horse. Act now, or get trampled.

Involvement

Ultramodern companies are using gamification as advertising. Why? Because people want to feel involved in what they buy or give to.

If you can make your copy fun and engaging, do it. A sense of play will lower people’s natural defenses. That’s why sales pieces often include chachki in the envelope. Your game or chachki should be logically connected to your copy’s message, though.

In some cases, you’ll have no control over the pieces in your package except the copy. In that event, make sure the copy engages readers. Make them feel like they’re right there, players in the story themselves.

The people in the movie theater that day went from watching people wrangle a horse on the screen to actually wrangling one themselves. Which made a more powerful impact?

Surprise

If your readers can guess every turn, every bridge, every swamp, and every stop on the way to the predictable end, your story is boring. Surprise them! Let them watch a jerky black-and-white Western for a few minutes before you ride a real horse into the middle of the theater.

As I said in an earlier piece, fiction and copywriting have a lot in common. Both require a plot full of twists and turns that leads to a satisfying but not predictable ending. Don’t bore your reader.

Want your copy to stand out in a sea of stories. Include urgency, involvement, and surprise. A stolen horse probably doesn’t hurt either.

What are some of your tips for writing copy people will remember?

Holland Webb: I love telling the stories that people put down so they go take action. I’m an advertising copywriter by day, an aspiring novelist by night, a parent, a dog-lover, a prison volunteer and a follower of Jesus.

Categories
Copywrite/Advertising

I’m in This Thing for Converts

 

You’re a copywriter. Not a novelist (okay, maybe at night). Not a screenwriter. Not a poet. A copywriter.

What does that mean?

Unlike those other writers, you’re not seeking readers. Not really. At the root of things, you’re seeking buyers.

It’s sort of like a preacher on Sunday. (I’ve been a preacher so I can use this example with impunity.) What does the preacher look for when gazing out across the sanctuary? A bunch of rear ends warming seats? That’s just the start.

One enthusiastic minister blurted it out to me once. “I’m in this thing for converts!

As a copywriter, so are you.

Our readers aren’t perusing our prose for chuckles and entertainment. They’re after information that will inspire them to buy the right product or give to the right charity. What you want is for your reader to take action.

Whether you are sitting at your keyboard crafting an email campaign for a Christian organization or climbing the town water tower with a can of spray paint and your ex-girlfriend’s number in your jacket pocket, you are writing for the same purpose–results.

Your prose is successful when your reader responds. Sign up for an email list. Follow the company on Twitter. Add a name to the petition. Ultimately, buy the product.

When a web visitor takes action on a site, that’s called conversion. And that’s what you want your prose to do—convert people. If you write for a Christian organization, conversions may be literal conversions. If you write for a company, maybe not.

How does writing for conversion differ from other kinds of writing? Here are three ways:

  1. Essay writers say, “Your writing needs an airtight argument with a beginning that includes a clear thesis sentence followed by three supporting statements and winding up with a defined conclusion that closes the argument’s circle.”

Ad copy editors say, “Your writing is part of a sprawling global conversation that has no beginning and no end. Don’t close the loop.”

If you close the loop, you give away the end of the story. What’s left for your reader to do?

Effective ad copy takes your reader right up to the crisis moment and stops. An irksome feeling that something remains unfinished nudges readers to become buyers. Resist the urge to conclude. Instead, let the reader finish the story by making a purchase or donation.

  1. Traditional writers say, “Good writing is grammatically correct, spell-checked, and proofread.”

Ad copy editors say, “Good writing is interesting.”

The need for written content to be interesting is almost universally acknowledged. But we don’t teach how to be interesting in print. We teach the rules of grammar.

Want evidence that the best writers don’t need to follow the rules? Look at some of today’s most effective advertising copywriters, the Chick-fil-a cows. Those guys are horrible spellers! But nobody cares that the cows can’t spell. They’re interesting. They’re funny. They keep you eating chicken.

Note that most ad copywriting also requires correct grammar and spelling. But those things alone aren’t going to get results.

  1. English teachers say, “I’m assigning you a paper that will be between seven and ten pages long.” And you write ten, even twelve, to prove that you are doing the most work possible.

Ad copy editors say, “Be brief.”

Brief writing is difficult to do, but brevity collects readers. Penelope Trunk says she takes 30 minutes to craft a single tweet. Mind you, a tweet is 140 characters or less. I could pound out 140 characters in no time flat. Perhaps that’s partly why Trunk has 134,000 Twitter followers, and I don’t. It’s hard to pack interesting, quality content into a tiny space, but it often works.

One caveat: there’s some evidence that long-form content gets readership and response better than short-form content does. Fundraising appeals, for instance, often generate more income when they are two or more pages long. The only way to know for sure is to test your readership.

Be brief doesn’t always mean be short. It just means stop talking once your piece concludes the first time.

For copywriters, conversion is key.  How do you convert your readers into buyers? Brief, interesting copy that leaves the reader with unfinished business on his hands is a great start. An inspiring call to action—in which you encourage the reader to convert with a direct statement—can transform some readers into buyers.

What are some things you’ve discovered about writing that converts? Do you have any war stories about web site content, email blasts or fundraising letters that finally pulled those readers off their pews and down front to join the congregation, either literally or metaphorically?

Did someone else’s brilliant copy snag you?

Tell me about it in the comments.

Holland Webb: I love telling the stories that people put down so they go take action. I’m an advertising copywriter by day, an aspiring novelist by night, a parent, a dog-lover, a prison volunteer and a follower of Jesus.

[1] Read more:http://www.touchstonemag.com/archives/article.php?id=26-02-018-v#ixzz4WJX3Txy8

Categories
A Little Red Ink Editing

What Is a Copy Edit?

What is a copy edit?

When you’re ready to choose a freelance editor, knowing the level of edit you’re after is important. We talked about the macro edit last week, and today, we’re skipping over line edit and heading right for copy edit.

Why? you ask.

Well, there’s a difference between a copy edit and a line edit, but not all freelance editors offer both. The line edit is a step above a copy edit, and you may not need or want one of these. (Though they’re my favorite type of edit.)

Today, since a copy edit is the next necessary step in the editing process, let’s go there. I’ll address the line edit next time.

Macro (or substantive) edit

(Line edit)

Copy edit

Proofread

Critique

The copy edit zooms in on the details.

Image by Randy Heinitz

 

It’s more detail-oriented than the macro. The second door.

You’ve got your solid hook and satisfying resolution. Your story world and characters are believable and worth cheering for. It’s time to sand out those rough edges. The editor will be targeting several things.

Obvious typos and misspellings

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Image by Altankomen

Your character mentions pouring over classified documents, rather than poring over them. She’s unsure weather or not she’s found a solid peace of evidence.

This isn’t the final proofread, but a good editor can’t (and shouldn’t) pass these mistakes and not mark them at this stage. (NOTE: They do get overlooked in the macro phase, because you might be revising them anyway).

Weasel words

Just. That. So. Very. Look.

Wherever you can, seek and destroy.

Sentence and paragraph structure

Do you follow the same basic patterns? If all of your sentences start with the character’s name or a personal pronoun, your editor will suggest spicing it up.

In your dialogue, does each speaker begin a new paragraph? Do you bury dialogue at the end of a long section of prose?

Dialogue—a little more in depth

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Image by Kite

Does your dialogue sound natural? Do the characters use contractions? Era-appropriate lingo?

Speakers leave off words every now and again?

How about your tough military guys? Do they sound like poetic ladies, or vice-versa?

Does everyone sound like you?

Is there a balance among action beats, tags, and letting the words speak for themselves?

Pet words and phrases

Every writer has these.

Don’t be offended when an editor or friend brings one or two to your attention. Brainstorm. Get in the head of your character. Find a better—more character-voice-worthy—way to say the same thing.

Clichés

Same dealio.

Redundancies

Maybe you’ve given the same bit of information twice. Perhaps you’ve used the same phrasing more than once. It’s possible that a word has been used seven times on one page (“look,” for example). Cut them. You want to strike the balance between sounding like you used a thesaurus until the binding was broken and you only have a seven-hundred word vocabulary.

You laugh, but sometimes—in order to get the story on the page—it happens. And then, in self-editing mode, you might miss some things. An extra set of eyes is a valuable investment.

Basic industry standard formatting

Times New Roman, 12 pt. One-inch margins, double-spaced paragraphs. The formatter will handle the rest, but the copy should look nice and clean.

Wrap-up

While a professional editor will address all of these things during the copy edit, some will mark the bare bones. Others will give you a little lesson or explanation in the margin the first time and then simply point out the rest and trust you to remember the reason. Some will compliment you on the phrasing and story elements they love.

Every editor has their own style.

But remember this: You have your own style, too. It’s important that your editor—while pointing out the essential fixes—doesn’t try to change your voice. They should only strive to make your writing the best it can be.

It’s still yours.

But it is worth investing in, since your name will be on the cover.

Question

What are some of your weasel words and pet words?