This morning, I noticed the following text on the back of the Alpen bag (no copyright infringement intended):

A breath of fresh air – brought to you by Alpen…
We know you know this is just another promotion on the back of your bag of cereal, so we’re not going to pretend it’s anything else.
It’s simply a chance to win great prizes…

This is what we might call a metanarrative: a story about a story, or a text whose subject is itself. Instead of promotional text talking about the benefits of the product, or the prizes you can win, the first paragraph here talks about the promotion itself.

That metatextual Alpen bag in full

I find metatexts fascinating, partly because I enjoyed studying them as a literature undergrad many years ago. But do they really work as marketing copy? Let’s unpack the pros and cons of this particular example.

On the plus side:

• It’s unusual. Metacopy is very rare, and this in itself generates interest. Not many cereal packets are written like Borges, Beckett or Baker. And this is, as the Alpen packet observes, a breath of fresh air.
• It’s exciting. In a world where corporate- or consumer-speak stands in for real human communication, honesty has a frisson of risk. So there’s a certain excitement to seeing metanarrative actually being used. You’re thinking, ‘Did they really say that?’
• It can build rapport. In metanarrative, the authorial voice shrugs off its bonds, breaking through the boundaries of the text to address the reader directly. This can generate a sense of one-on-one interaction, of talking to a real human. In a marketing context, this could build trust and a sense of identification.

And on the downside:

• It’s thin. By which I mean that there isn’t a lot of meaning there. The two main ‘takeaways’ from the Alpen copy above are ‘You’re clever’ and ‘We’re not lying’. While that’s an unusual message, it’s arguably not a very compelling one. The reader might well respond, ‘So what?’
• It’s egotistical. There’s always benefit in flattering the reader, but in this example most of the credit is being given to the advertiser themselves, for being so honest about their promotion. And that’s a turn-off.
• It’s weak. When you get to the second paragraph in the Alpen example, you discover that behind the pretence, it really is just the same as other competition promotions – which is exactly what the first paragraph said, but it’s still disappointing somehow. All that difference ended up as just more sameness.
• It’s still marketing. Post-structuralism succeeded structuralism when it became clear that there could be no fixed point ‘outside’ the text from which to determine its ‘real’ or ultimate meaning. In other words, a book about books is still a book. A literary critic is still a writer. ‘Freedom’ from narrative, like moral certainty, is an illusion and all meaning is ultimately relative – or endlessly deferred, as Derrida postulated. In the present context, that means that ‘honest’ marketing messages are still marketing, because the medium is the message. Any text included on a cereal packet – even a Zen koan – is intrinsically commercial; this is a place where we expect (and get) material transaction, not friendship or truth.
• It’s cynical. Following on from that point, marketers should always, always remember that people aren’t stupid. They’re not going to buy into your message just because you said it in an unusual way. To expect them to is profoundly cynical and manipulative, so don’t kid yourself. (The only exception is if you manage to generate a positive emotional response, as opposed to a wry intellectual smirk.) Perhaps there’s greater honesty in selling with genre and cliché – giving the readers what they want, know or expect – than putting on a pose of originality for purely self-centred reasons.

On the whole, I think the cons outweigh the pros. And yet, I think there are circumstances when metacopywriting can work. Predictably, they’re the times when the metanarrative can allude to some benefit for the reader, or a problem of theirs that could be solved.

This example is taken from Ian Moore’s excellent book Does Your Marketing Sell? It was used to promote a new insurance product introduced by Royal & Sun Alliance to brokers, who sell insurance on its behalf. At the time it was used, insurance brokers were having to put up with fluctuating service levels from insurers, as a result of internal upheaval following big structural changes in the insurance market. Rather than gloss over that background, it made a virtue of the fact that R&SA wasn’t perfect:

Announcing the launch of yet another household product that’s not quite right for your customers (and seven reasons you should sell it)

The body text went on to appeal to brokers to help R&SA develop and improve the product.

In my opinion, this is a more successful metatext because it engages the emotions, rather than just playing games with meaning. It talks directly to a problem that the readership had. And the body made good on the promise of the headline, using it as the jumping-off point for a set of real benefits, honestly presented and maintaining the metatextual authorial voice established by the headline. Alpen, by contrast, stoked up the fire of expectation with its metanarrative, but threw cold water on it by bookending it with cliché.

So in summary, meta isn’t always better. This most radical of copywriting strategies works best when it’s allied with the two most traditional – focusing on the customer and communicating benefits.

Modern marketing is a lot like a party. Work the room right and you’ll attract interest and new contacts. Fail to shine and you’ll be going home alone. Here are the ten marketing partygoers you don’t want to meet – or to become.

The egotist

The egotist holds forth interminably on his favourite topic, himself. He’s oblivious to the bored sighs of those around him, failing to notice them backing away towards the vol-au-vents.

Marketing moral: focus on the customer, not yourself.

The counsellor

The counsellor is full of unwelcome ‘why don’t you’ advice for everyone she meets – she’s the answer to a question nobody asked. Sadly, her ideas aren’t always that useful.

Marketing moral: expertise is becoming devalued in some fields (notably social media). Cultivating strong personal connections may work better than positioning yourself as an expert.

The geek

It's not a party if there aren't any vol-au-vents

The geek batters you into submission with an enthusiastic but crashingly dull monologue about his phone, computer or other gadget.

Marketing moral: don’t confuse technical features with customer benefits. Unless you’re targeting early adopters or gadget fiends, new technology does not sell itself.

The wiseguy

The wiseguy keeps the jokes coming even if they’re not appreciated, appropriate or even funny.

Marketing moral: humour doesn’t travel well and should be used with great care – are you sure you’ll get the reaction you’re hoping for?

The wallflower

The wallflower stands shyly on the sidelines even though her best friend could be introducing her to plenty of guests if asked.

Marketing moral: proactively cultivate and request referrals and testimonials; join the conversation in social media and see where it takes you.

The skinflint

The skinflint brings Liebfraumilch but drinks Moët.

Marketing moral: reciprocity is everything in modern marketing, particularly social media. You have to give something (of yourself) before you receive.

The butterfly

The butterfly is always looking around the room for someone more interesting to talk to.

Marketing moral: don’t neglect here-and-now customer needs in the quest for new connections or business, however exciting it might feel. It’s far easier to get an order from an existing customer than from a ‘cold’ lead.

The nervous hostess

The nervous hostess flits between conversations, asking everyone if they’re enjoying themselves (and the vol-au-vents).

Marketing moral: don’t over-regulate the social media conversation about your brand or content. Allowing criticism shows strength and confirms authenticity. Allow time and space for others to answer on your behalf; it will be more powerful.

The gatecrasher

The gatecrasher shouldn’t even be here at all but he never misses the chance to party, even if he doesn’t know anyone.

Marketing moral: don’t waste marketing spend on making a big splash when you really need focused exposure. Only relevant attention can be converted to sales.

The chatterbox

The chatterbox just won’t shut up!

Marketing moral: We can’t talk and listen at the same time; make time for learning and sharing as well as pushing out content. No one wants to work with a consultant or service provider who can’t listen.

So much for my list. Can you suggest more?

One of the cornerstones of economics is the theory of rational choice – the idea that people decide how to act by carefully weighing costs against benefits.

In the aftermath of the financial crisis, largely unforeseen by economists, rational choice theory is looking a bit tattered.  The rationality of the big players in finance, as well as the supposedly corrective hand of ‘the market’, has been shown to be an utter fallacy. Investors systematically ignored huge long-term risks, with catastrophic consequences.

Maybe the economists should hang out more with their colleagues over at psychology and organisational behaviour, where researchers have been investigating and documenting flawed decision-making for decades.

For the psychologist or sociologist, a human decision-maker still acts to minimise costs and maximise benefits (or to avoid pain and seek pleasure). But their assessment of those costs and benefits is likely to be hopelessly inaccurate, biased or incomplete.

All this is good news for the copywriter, because these decision-making biases can be exploited in order to nudge a reader towards a buying decision – even though the purchase may not benefit them in any rational or quantifiable way. This post outlines a few of the most common biases that affect our decisions, and how they can be exploited.

Bigness bias

Bigness bias is the tendency to discount relatively small amounts that are measured against much larger amounts. For example, you might regard £1000 as a lot of money to pay for a suit. But to secure a house you really wanted, you wouldn’t hesitate to increase your offer by £1000 – or even £10,000. Context is everything. For example:

For just 1% of what you take home each month, you can protect every penny you earn from the threat of serious illness or redundancy.

Distinction bias

Viewing options in conjunction makes them seem more different than when they are viewed in isolation. Exploit this by juxtaposing the promoted offering with an alternative option and emphasising some distinction between them. For example:

The EconoHeat offers four different ways to programme your heating – most controllers have just three.

The money illusion

We tend to focus on the face value of money rather than its actual purchasing power. That’s why a £10 cashback offer is so appealing – it’s free money! – whereas a voucher worth £10 is less powerful, and a free saucepan worth £10 even less so (even if we need one). Exploit this bias by quoting as many cash amounts as you possibly can when savings or reductions are concerned (i.e. talk in pounds or dollars, not percentages or fractions).

Reactance

Reactance is the urge to do the opposite of what you’re told. (As the parent of a three-year-old, I can confirm this from extensive field research.)

Right-wingers in the US often harness reactance by suggesting that a ‘liberal mafia’ is destroying America; by doing so, they position voting for the profoundly conservative Republicans as some sort of rebellion.

Apple did something similar with its 1984 and Think Different campaigns, encouraging computer buyers to resist the domination of IBM. Reactance favours new market entrants, minority choices and fringe players, who can turn their underdog status into a virtue in their marketing by inciting customers to rebel against the established order.

Neglect of probability

Human beings are awful at estimating and comparing probabilities. That’s why millions play the Lottery, even though the chance of winning (the ‘positive expected value’, in risk terminology) is infinitesimal. (Premium Bonds are a much better bet.)

This is great news if you’re selling the chance to be, do or acquire something – simply emphasise a desirable upside and people will wildly overestimate their chances of success.

Apply for our copywriting course today and you could be earning big money from home in under two months.

Every new applicant gets the chance to win a fabulous city break for two in Prague.

Déformation professionnelle

Déformation professionnelle is the tendency to view things through the lens of one’s own professional skills or culture. You can exploit it when writing for trade magazines or niche websites – since no-one else is reading, go ahead and trot out the jargon, prejudices and petty concerns that your audience love, and generate instant rapport. (Obviously, you need to be able to do this convincingly, and sound like an ‘insider’, or it will backfire badly.)

Bandwagon theory

This is the tendency to jump on the bandwagon and do what others are doing. I’ve already covered it in my piece on social proof.

Illusion of control

We believe that we can control, or at least influence, outcomes that we clearly cannot. Most superstitions are rooted in this belief, but more ‘sophisticated’ systems of thought such as technical analysis (using charts to predict share price movements) are arguably manifestations of the same thing.

Many distress purchases appeal to the illusion of control. Insurance, for example, is often predicated on the idea that the dark, chaotic world out there can be kept at bay for an affordable monthly payment. Some cosmetic treatments also encourage us to change things that, deep down, we know we can’t.

When we use metaphors (or similes), we compare one thing to another so we can understand or explain it better. We do this to explain it, to understand it or sometimes just to make our language more colourful.

Life’s but a shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more.

Here, the core of the metaphor is the equation ‘life=theatre’, with the secondary meaning ‘people=actors’. In these lines, Shakespeare is explicitly saying that our lives are as brief and futile as a play – a meaningless shadow rather than anything real. Implicitly, he’s also saying that we have little control over our destinies, like actors whose lines are written down for them. Once the parallel is drawn, a metaphor opens up a range of ways to think about something in a new way.

Metaphors in NLP

Neuro-linguistic programming (NLP) takes language seriously, acknowledging that it shapes the way we think. NLP practitioners pay close attention to the words people choose. By really listening to what people say, we can learn about the way they see themselves or the world.

To an NLP practitioner, metaphors are interesting because of their limits. They illuminate some truths while obscuring others; in NLP terminology, there are things they ‘allow’ and things they ‘disallow’.

For example, we might say that a trusted friend is ‘a rock’. Obviously, there are lots of unintended literal meanings: our friend probably isn’t thousands of years old, rough to the touch or permanently rooted to the spot. When we liken them to a rock, we’re saying that they’re solid and reliable.

However, they are human, so their moods and opinions change. Since rocks don’t change, our metaphor obscures this aspect of their personality, locking them into an idea of stolidity that may be limiting (for us, or for them). This highlights the importance of ‘stepping out’ of metaphors when they are no longer useful.

Liquid engineering

Over 35? This might take you back a bit (click to watch the advert)

A good example of a strong metaphor in copywriting is the slogan used for Castrol GTX in the 1980s: ‘liquid engineering’. In just two words, it transformed an everyday, almost commodity product into something essential and sophisticated.

Copywriting metaphors like this derive their power from two sources: imagery and emotion. In general, people find it easy to grasp concrete images, and harder to understand abstract concepts. Moreover, they respond more strongly when their hearts are appealed to, rather than just their minds. ‘Liquid engineering’ equates Castrol’s oil (an inanimate object) with attentive, skilful human engineers, suggesting that it provides a similar level of care, while appealing to the customer’s desire to care for their engine and safeguard their investment.

Leaky umbrella

Castrol’s metaphor was apposite, elegant and memorable – a brilliant piece of copywriting. But it’s very easy to get drawn into using a metaphor for its own sake, or pressing one into service that isn’t quite suited to the job at hand. The following is the text of a magazine advert currently being used by a leading UK insurer:

Would you buy an umbrella, if it didn’t keep you dry?
Neither would we. So why should you pay for an insurance policy that won’t keep you properly covered? Unlike 8 out of 10 standard home insurance policies we include cover for your belongings if they are accidentally damaged or lost – as standard.

The text is accompanied by a picture of an umbrella, highlighting one of the key benefits of metaphors in marketing – they give you a handy hook to hang your imagery on when none is otherwise available. (Services are often hard to depict – it’s even worse in B2B marketing.)

Although ‘insurance=umbrella’ seems promising as a metaphor (if unoriginal), here it actually muddies the meaning rather than clarifying it. Have you ever had, or bought, an umbrella that didn’t keep you dry? How would you know that an umbrella wouldn’t keep you dry, before you bought it?

The umbrella is an everyday item, but the situation described is artificial and not one that readers will immediately recognise from their lives. As a result, the metaphor won’t have the sensual, concrete force that drives emotional impact.

Stop clevering off

Instead of providing a useful stepping-stone between something familiar and a new concept, the headline metaphor in this example is adding a cognitive barrier between reader and benefit – and therefore putting obstacles in the way of a sale. The headline is literally a riddle, and if you ask your reader to solve riddles you run the risk of them simply walking away.

Since the core benefit is easy enough to understand for anyone who’s ever bought home insurance (which is almost everybody), a better headline might be:

With [Insurer], cover for damage and loss come as standard.

Or, for a bit more spice:

What’s extra for others is standard for us: damage and loss cover included with every home insurance policy.

Of course, you wouldn’t be able to include a nice picture of an umbrella, but you would have a headline that would actually generate interest.

It’s well known that headlines with benefits outpull those without. So if you’ve got a benefit that’s easy to communicate, it should always lead your copy. If you want to connect with readers, resist the tendency for what my granny used to call ‘clevering off’.

Making metaphors work

Here are a few pointers for making metaphors work in copywriting.

• Use sparingly. Only use metaphors when they’re needed: to clarify points that would otherwise be difficult to explain or understand, to communicate a benefit or to add emotional or persuasive impact. Don’t use them for their own sake. 
• Choose carefully. The right comparison can illuminate a key point like a ray of sunlight breaking through the clouds. But the wrong one can quickly lead you into deep water. Be sure your metaphor is appropriate.
• Dig deeper. Sometimes, metaphors have layers of meaning that you might not want. Consider what your metaphor really says about the product, service or company you’re promoting.
• Less is more. Metaphors are like tissues. At the moment you need them, they’re indispensable. But if you try to get too much use out of them, as I’m doing here, you’ll end up in a mess. In other words, most metaphors support just one or two strong points; after that, they should be dropped.
• Don’t mix it up. ‘Let’s run that idea up the flagpole and see if it holds water.’ ‘We weren’t on the same page because they were dancing to a different beat.’ Adding metaphors together doesn’t concentrate meaning; it dilutes it. Give your metaphors room to breathe, so your reader can absorb each one fully before you hit them with the next. If they’re too close, or if they overlap, the result is ludicrous. 

At first glance, the Apple iPad just seemed so optional – another expensive device, another charger to plug in, another possession to be honoured. And the benefits were so marginal.

But having thought about it a little more deeply, I’m beginning to see what all the fuss is about. And I think it’s crucial to look past physical features and understand the experience offered by the iPad – and how important it could be for the digital marketing of the future.

Experience is everything

Because the internet is dominated by technically literate (and highly prolific) bloggers and commenters, much early online reaction to the iPad focused on its technical features (or lack thereof). Stephen Fry (in this post) was one of the earliest technophiles to guide doubters towards the actual experience of using the iPad, rather than an actuarial dissection of its spec-sheet. ‘The moment you experience it in your hands you know this is class,’ he wrote. ‘This is a different order of experience.’

He was absolutely right. Laundry lists of features or functionality are not the point. I don’t buy an electronic product because it’s achieved a particular technical benchmark or offers tons of features relative to competitors. I buy it because it’s going to change my life for the better by offering new, fun or cool experiences. Not just in terms of using the product itself, but also in terms of the real-world context of my experience.

Apple and the digital life

History teaches us not to bet against Apple

Apple has always understood that people buy experiences, not features. Its products are brilliantly designed and ergonomically peerless, but they are much more than mere museum pieces or geekboy fodder. They are ‘insanely great’ because they offer new, compelling digital experiences that normal people want in their lives. Often, they do so without being particularly innovative in technical terms.

Consider the iMac. It delivered functionality that people could easily get elsewhere. It wasn’t innovative. It wasn’t even particularly cheap. But it presented personal computing in a brilliant, compact design and made it utterly fun and accessible. It was a runaway success because it repositioned computing as a cool leisure activity ‘for the rest of us’. The iMac experience laid the groundwork for Apple’s majestic and still-unfolding umbrella marketing concept: the ‘digital life’.

So, what experience will iPad users be buying into?

Focus

At the core of the iPad experience is what we might call ‘focused digital browsing’. The iPad puts content at the centre of your experience in a way that a computer or phone doesn’t.

Phones are about mobile communication first and foremost, and clearly not ideal for reading. Computers, because of their functional design (and ubiquity in the workplace), orient us towards accomplishing tasks whenever we use them. Their versatility also provides myriad distractions from reading. 

Contrast that with the iPad, which can only run one app at a time, and isn’t a computer by any stretch of the imagination. Its mono-functionality deals a decisive blow to the fragmented, bitty concentration of today’s web user. No email or instant messages will intrude while users encounter content; the chances of having it read and understood properly just got a whole lot better.

For websites, copywriters might feel that longer, more involved text is appropriate, just as it is when writing advertisements for similarly ‘captive’ audiences in venues such as the Underground (US: subway). There might also be less emphasis on ‘interruptive’ marketing, or on trying to get users’ attention on a more general level. With an iPad, we can be much more confident that the audience is already attentive.

By the same token, PDFs and e-books will surely become much more important as marketing tools. Although they’ve always been important and viable, I don’t know anyone who reads them for pleasure. Scanning a product manual to find a key fact, yes. Working through a marketing guide page by page on screen, no. Not for me, anyway. But if the iPad takes off, I could well be recommending PDF brochures and e-books to my clients as important ways to build links with iPad-using customers.

Touch

The physical aspects of the iPad experience are fascinating. The user will probably be holding the tablet in their hands, like a book. Instead of clicking and scrolling with a spiky little black arrow or a tiny white hand, they’ll be caressing the screen with their very own fingers – literally touching the content. Ergonomically, the experience emphasises involvement, intimacy and closeness – as distinct from the remote, measured stance of the computer user sitting upright and using a mouse.

This might lead to more sensual, involving marketing content, aiming to capitalise on this ready-made intimacy between reader and medium. Perhaps we’ll also be trying to make on-screen shapes, colours, textures and words physically appealing – using images of objects that people like to touch (shiny levers, velvet curtains, polished wood). Over time, more sophisticated interaction through touch is sure to emerge (certainly through apps), but it will need to complement content if it’s going to work on a marketing level and not seem gimmicky.

Comfort

The iPad user seems very likely to be comfortable: probably at home, at leisure, in a comfortable location of their choice such as an armchair or sofa. Unlike readers at office desks, they’re not wishing they’re somewhere else. In fact, the urge to prolong pleasure is likely to keep them exactly where they are. They are ‘voluntarily captive’, and once again this might mean we can target them with longer, more involved marketing messages.

With the iPad, content really will be ‘beamed in’ to the leisure heart of the home. There may be the potential to allude much more directly to the user’s environment when selling particular products – sofas, for example – or, more generally, to capitalise on an existing mindset of leisure and reflection. For many products, the iPad is likely to put the user in a much better ‘buying place’ than a work laptop or even a machine set up at a home workstation.

Embeddedness

Some people feel the iPad threatens the paper book, but I don’t. Again, we must remember that people choose experiences, not products. An example: I might well buy vintage sci-fi in paper form, so I can read it in one of the four classic non-digital reading venues: beach, bed, bath and bog. However, I’m much more likely to get a business title in e-book form, so I can scan, search or quote from it more easily.

Instead of making a one-time, binary decision about which medium or device I’ll use to view ‘my content’, I’m selecting content and medium together to create my reading experience in a much more sophisticated, plural way. And this is how things always pan out. Just as only the most cutting-edge digital evangelist has ditched all their CDs and MP3s for Spotify, so only a handful of readers will switch to e-books exclusively. If old ways still appeal, users preserve their choice.

So even if the iPad takes off big time, we won’t know whether or when our audience are using an iPad to view our digital content. They’ll choose the channel that suits them at the time. But just as podcasts came to be strongly associated with iPods (even taking their name from them), I believe that some occasions, tasks, product types and market segments will come to be very strongly associated with tablet use.

For example, if you owned an iPad and did your weekly shop online, it seems very likely that you’d want to walk round the house with the iPad, checking what you needed and adding items to your basket as you went. It’s easy to imagine how other online selections or purchases could be supported by this kind of ‘around the home’ iPad use: contents insurance, home improvements and so on.

In the early days, we’ll probably just want to test on an iPad, and perhaps provide some content that’s flagged as being ‘especially for iPad users’. Later, we’ll probably plan, write and design digital marketing content in an iPad version – or even design exclusively for iPad. And at that point, I might have to consider buying one myself…

Weasel words are used to plant an idea in readers’ minds that is bigger than the actual claim being made. Working from vague, indeterminate facts (or no facts at all), you can generate perceptions that may be completely at odds with reality, without making a definite, absolute or concrete claim that could be open to challenge. 

But should you do it? I’ve already made clear my own views on honesty in marketing. But needs must when the devil dances. Whether you use these techniques is up to you!

‘Help to’

In conjunction with ‘can’ (see below), ‘help to’ positions your product or service as part of the solution to a problem without taking sole credit. For example:

Crunchaflakes can help to reduce weight as part of a calorie-controlled diet

Of course they can. Any food can. With the calorie-controlled approach, it’s simply a question of adding up the calories and keeping below a set target. The claim is very carefully delineated and hedged about, and is neither distinctive nor remarkable. But it lodges the idea of weight loss in the reader’s mind.

‘Can’ and ‘could’

Use ‘can’ and ‘could’ for indefinite claims that you want to sound definite. For example:

While traditional fan heaters have an average lifetime of 10–15 years, the RoomHeater 32 can keep on pumping out heat for decades.

Indeed it can, if used relatively sparingly. If used incessantly, its lifetime would be much shorter. Caveat emptor!

Hundreds and thousands

Look again at the example above. What period does ‘decades’ actually denote? Dunno, but it sounds like ages – just as words like ‘dozens’, ‘hundreds’ and ‘thousands’ sound like big quantities.

Strictly speaking, 101 is ‘hundreds’ – it’s 1.01 hundreds, which is more than one and therefore plural. If you’re uncomfortable with that, stick to 200 and above, which is definitely more than one hundred. ‘Hundreds’ sounds bigger than ‘217’.

Willy was weary of being regarded as devious, purely on the basis of his species

Fractions

Closely related is the word ‘fraction’, as in ‘now available at a fraction of the original price’. 99/100ths is a fraction, but your audience will think of the ones they learned at school, like 1/2, 1/3 and 1/4, which will make them think you’re offering a huge discount.

Relative improvement

Whiter teeth. Improved search engine rankings. Increased sales. Shinier hair. Whatever it is you’re offering to do, make it relative and unquantified, not absolute and specific. That way, even the tiniest improvement fulfils the promise.

Yes, of course my copywriting will increase your sales. I guarantee it. By up to 50%.

‘Up to’

‘Up to’ or ‘as much as’ are used when you want to quote a numerical or statistical claim, but can only substantiate it within a certain range.

For example, you might be marketing a service that gets people tax rebates. Let’s say that on average, people get rebates of around 10% of their bills, but some have received 50%. Instead of quoting the average, or the range, you can say ‘customers have received rebates of up to 50%’.

All you’re really saying is that the rebate is in the range 0%–50%, but it’s the upper number that will stick in people’s minds. Very few will infer the corollary, which is ‘some customers got nothing’.

Note that the ‘up to’ number must be honest: it may be unusual or exceptional, but it must be achievable.

‘Over’ and ‘more than’

Closely related to ‘up to’, ‘over’ and ‘more than’ make numbers sound larger than they are. For example, ‘over 50%’ sounds bigger than ‘51%’. When given a vague numerical range, people tend to overestimate. (If you want them to underestimate, use ‘under’ or ‘less than’.)

Watch out for using both ‘up to’ and ‘more’ together, which results in nonsense:

Save up to £50 or more!

Here, the £50 is neither a minimum or a maximum, just an arbitrary point in a completely undefined range. Although the audience may latch on to the £50, blurring the meaning twice means more confusion rather than more impact.

‘As much as’ and ‘as little as’

For a rhetorical twist, use ‘as much as’ or ‘as little as’ to imply that the figure you’re quoting is particularly high or low. For example:

The iPhone is now available for as little as £35 per month.

This suggests that £35 is low, but with no frame of reference to substantiate the claim.

Reported beliefs

Tom Albrighton is now regarded as the best copywriter in the UK.

Sounds fantastic, doesn’t it? But who’s doing the regarding? Charles Saatchi, or my mum?

The use of the passive case, which omits the subject of the verb, allows you to say something is being done without specifying who’s doing it. With verbs such as ‘thought’ or ‘believed’, you can put out a claim that may be completely unsubstantiated, simply by saying that someone thinks it’s true.

You can also use abstract nouns such as ‘concerns’ (usually ‘growing’), ‘speculation’ (often ‘intense’ due to being ‘fuelled’) or ‘allegation’ (probably ‘fresh’) to generate a sense that something’s cooking without naming the chef.

This ploy is very commonly used in political journalism, often to report an ‘off the record’ sentiment from a genuine source. A typical sentence might begin ‘Critics of the Prime Minister now believe…’.

Consider the following quote from this Guardian story, which brings all the techniques together in one sentence:

The disclosures will fuel growing concern that the prince is continuing to interfere in political matters when many believe he should remain neutral if he wishes to become king.

Who is concerned, and why will the disclosures fuel their concerns? Who are the ‘many’ who believe Charles should remain neutral? What is the factual basis for saying that he might not succeed to the throne, or that his succession is conditional on his behaviour? What, actually, is being said here?

Nothing. But it sounds good. 

Rhetorical reinforcement

Use words such as ‘clearly’, ‘surely’, ‘self-evidently’ to make a premise sound like a conclusion. These rhetorical words add weight to a statement that may have no basis in fact.

Surely the recession is now drawing to a close?

It may be, or it may not – you haven’t actually said either way, but readers will think you have.

Unprovable superlatives

The CDs entitled ‘The best rock album in the world… ever!’ and similar highlighted the useful fact that superlatives are unprovable.

Suppose you start describing your firm as a ‘leading local widget maker’. Are you including firms who make other things as well as widgets? Or just widget specialists? Or just local widget specialists?

What’s more, how do you define ‘leading’? Do you sell most widgets? Make most money from widgets? Or just make the best widgets? Or are you just one of the best at making widgets? It really doesn’t matter, because the only thing readers will remember is ‘leading’. They won’t be querying your definition.

If you’re still unsure about your claim, dilute it with ‘regarded as’ or something similar, or position yourself as ‘one of the leading…’. Does that mean one of the top 10? The top 100? The top 1000?

Or you could copy Carlsberg, whose addition of ‘probably’ to ‘the best lager in the world’ allowed them to float the most outrageous marketing claim of all (‘best in world’) without actually making it.

Every so often, a marketing contrarian will float the notion that customer testimonials or ratings aren’t worth featuring in your marketing, because they so transparently serve your own interests. I find this astonishing.

Let me qualify that. I’m not talking about quotes or ratings presented in a manner of your own choosing. Quotes included on your website or in your brochure are clearly open to editing, manipulation or even fabrication. And obviously, they’re selected too – you don’t seek or publish quotes from clients who weren’t 100% happy.

However, reviews submitted at third-party sites can be completely beyond your control. Every time I invite a client to review me at FreeIndex, I’m making myself a hostage to fortune. Of course, I choose the ones I think are happy, but for all I know they’ve been holding back on a reservation about the timescale or the price. In fact, anyone can review me at FreeIndex, whether I invite them or not. And the pages rank highly.

In fact, it’s arguably far too easy to post negative reviews. Have a look at this profile for a copywriter on Touch Local. She’s rated one star on the strength of one anonymous, invisible review, submitted via a one-page form (you can see it further down the page). Who did that? A customer? A competitor? A drunk teenager?

Assuming it’s not genuine, presumably, the onus is on her to notice the rating, approach the site and attempt to have it rescinded – or, failing that, gather enough positive reviews to bring her average up.

Even if it is a genuine rating, it seems like a raw deal – particularly since she’s contributed to the viability of the directory by submitting her details and may even be paying for priority listing. All that marketing effort and/or outlay has ended up harming her prospects instead of enhancing them.

What do you think? Has democracy gone too far?

If you deliver services (B2B or B2C) that are tailored rather than ‘off the shelf’, case studies are a great way to showcase your skills, experience and approach to projects. They work equally well for freelances, sole traders, SMEs and large corporates, giving potential clients a chance to see how your way of working actually pans out in practice, and what it could do for them. They also function as indirect recommendations, since the clients mentioned are giving their tacit endorsement.

Case study structure

The best case studies tell a story with a distinct beginning, middle and end. The beginning is the client’s need, the middle is what you did for them, and the end is how they benefited. In my view, every case study should follow this chronological approach, using some or all of the following sections in the order listed (though not necessarily with these headings):

• Background: some general information about the client
• Origins: how they found or approached you
• Requirement: the client’s needs, situation or problems at the time
• Approach: what you did that addressed their need, or solved their problems
• Results: the outcomes of your work, at a practical level
• Benefits: how the client benefited as a result of your work.

Medium and length

Case studies can be used almost anywhere: in brochures, as standalone printed handouts or folder inserts, on websites or in presentations. They may also form the basis for press releases. However, the length should be appropriate for the medium and format chosen.

A presentation version should be four or five slides at most, with three or four bullet points per slide. Each slide should cover a stage of the story as described above. If you can’t say what’s needed within those limits, choose a different medium. Don’t shoehorn narrative into PowerPoint – it’ll never get read.

A printed version might go onto a double-sided A4 sheet, in which case allow 500 words per side max (10pt text with some headings and illustrations).

If your case study is to be published online, you need 500 words per page absolute max; something closer to 150 is far more likely to be read. You can always do a concise web-page version and link to a longer PDF (designed exactly like a printed version, on A4) that people can download.

Length does not equal value, so don’t add content for its own sake. But conversely, don’t fall into the trap of cutting everything to the bone in the belief that it will maximise interest. Some people do still like to read, and it’s only in the details that the quality and value of what you do can be fully substantiated.

Case study content

• Describe all the key facts, even those you feel are obvious. Your story needs to flow logically and make sense even to those not paying close attention.
• Don’t get too bogged down in ‘what you did’. The point is the benefits delivered rather than the actions taken. If you want to wax lyrical about your craft, your blog is the place.
• Don’t use industry jargon – or, if you do, define each term you use.
• Give personal or business context that shows readers why the service you delivered was so important, or made such a difference. For example: ‘Our photographs were used in the key Christmas brochure, which is distributed to over 10,000 recipients.’
• Include quantitative (numerical) benefits wherever possible: money or time saved, profit made or anything else that can be measured.
• The sanity check for case study content is: ‘if I were a potential client or customer, would this point interest me?’ If the answer’s ‘no’, cut it. Don’t let B2B case studies turn into a love-in about the ‘relationship’ – it’s great that everybody got on well, but we need to see some concrete benefits too.

Quotes in case studies

Direct quotes from the client add both weight and colour to a case study. It’s always better to report people’s actual words, instead of you saying how happy they were. Also, people have their unique ways of expressing themselves, and their voice will bring a welcome change of tone to the content of the case study.

For B2B, you should seek quotes from the highest level of the organisation you can, focusing on the strategic, high-level benefits that your service realised or enabled, rather than the practical details of how it was delivered (which you can easily describe yourself).

Networking and directory sites such as LinkedIn and FreeIndex allow you to solicit and display client testimonials on your profile page. (You can also integrate FreeIndex comments into your own site, as I’ve done here.) If people have written enough words, you could use them in your case study.

You could also solicit quotes by email. If you want detailed answers in a range of areas, you could create a list of questions for your client to answer. Ask questions beginning ‘how’ and ‘what’, which invite the most expansive, expressive responses (‘how did the service benefit your business?’).

However, there’s still a risk of receiving telegraphic or even one-word answers, which can be embarassing if you can’t use them. So interview your contact if you can. Prepare a list of questions, and send it in advance, but arrange a time to talk on the phone and record the conversation. That way you can explore the client’s answers, get more detail and prompt them if they’re not very forthcoming.

Case study presentation

• Use ‘crossheads’ (subheadings) so people can skim-read the case study or ‘cut to the chase’ if they wish. Your aim should be to provide detail for those who want it, without obliging casual readers to plough through everything.
• A ‘standfirst’ (bold paragraph at the start) that sums up the whole story, including the key benefits delivered, makes for a punchy opening. Look at magazines for examples.
• Another good tactic is ‘pulling out’ key content (such as juicy client quotes, see below) into highlighted boxes beside the text, or interspersed within it. Again, magazines will show you how.
• Pictures are a great idea. Client logos, portraits of people, pictures of what you did – anything that’s specific to the case study will add significant value and interest. Try to avoid bland royalty-free photos, since the incongruence between the specifics of the narrative and the general, irrelevant imagery will be jarring. Remember, your case study is a story – and pictures included in stories should always reflect the narrative.

Finally, it goes without saying that working with a professional copywriter – ideally one with experience of interviewing, who can talk to your clients – is the best way to get a really effective case study.

The other day I was discussing a new SEO campaign with one of my SME clients. There’s loads of potential, with great geographical terms to target and relatively modest competitor activity. I closed my proposal with the icing on the cake: the opportunity to target generic keywords that form part of a direct competitor’s name, effectively ‘brand bidding’ through natural search.

Hearing all this, my client got excited about the prospect of ‘playing the game’ of SEO, as they put it. Like all metaphors, this was both instructive and revealing.

SEO certainly does have a lot in common with a game or sport – running, for example. You choose your ‘race’ and your ‘opponents’ by selecting keywords – long-tail terms for a quick sprint, high-volume generics for a challenging marathon. You ‘train’ by optimising on-page elements and building links, then see what ‘finishing position’ you can obtain. The preparation can be rewarding; success, exhilarating.

However, metaphors have limits. They illuminate some aspects of reality while obscuring others. We should use them only insofar as they help us understand the world as it is (or as we would like it to be). And the problem with considering SEO as a game is that it misses the key objective of the whole process.

High rankings are not the point. Beating competitors is not the point. Even relevant traffic is not the point. The point is getting more business. ‘Winning’ at SEO is only worthwhile if it benefits your business; the real prizes are outside the field of play.

While you could argue for a brand-equity benefit from strong rankings, most big firms look to ROI (return on investment) and/or CPA (cost per acquisition) as the key measures of success. SMEs and even sole traders should do the same – even if they don’t have the time or capability to gauge those metrics accurately.

Of course, as with any other game, you might decide that training and competing is its own reward, regardless of winning. But this must be a conscious decision.

Personally, whenever I find myself too involved with marketing activities for their own sake, I remind myself that I work to support my family, and anything that doesn’t further that aim is a hobby.

SEO may be a game, and an enjoyable one, but it’s not about the taking part. It’s about winning.

What is a call to action?

A call to action is a short piece of text (usually one or two sentences) in an advertisement or marketing communication that encourages the reader to take a particular course of action – buy, donate, make contact and so on.

Calls to action guide the audience towards a real-world action, so they don’t turn the page, click through to another site or just carry on browsing your material aimlessly. They set a boundary on readers’ ‘information gathering’ experience, encouraging them to move into the ‘doing’ phase.

The call to action is one of the most important ‘take-aways’ for the audience. If there’s one thing the copywriter wants the audience to read and internalise (after the headline), it’s the call to action.

Where are calls to action used?

Calls to action should be included in almost every piece of marketing, whether focused at businesses or consumers. Examples of where they might appear are:

• In brochures: on the back page, or interspersed within the text
• On websites: on every ‘selling’ page, and perhaps also on a ‘contact us’ page (possibly not on ‘more information’ pages)
• In direct mail sales letters or marketing emails: towards the end, before the sign-off, and perhaps repeated in a P.S.

Often, a call to action will be highlighted by being boxed out, emboldened or otherwise ‘biggened up’.

Calls to action are not used in pure ‘brand-building’ marketing, where the only aim is to make the audience remember the brand.

Define your desired customer response

Before you can create a call to action, you must know your desired customer response (DCR). What do you want the reader to do once they’ve read your message? Whatever your DCR is, it should be all of the following:

• Clear. A ten-year-old should be able to understand what you’re asking them to do.
• Simple. A DCR should consist of a single step. You may want people to go to a website and buy, but the first step is just to get them there – it’s the website’s job to convert traffic to sales.
• Specific. A DCR should make it clear exactly what the audience should do, in concrete terms: fill out a form, visit a shop, make a phone call, go to a website and so on.

Create a basic call to action

At its simplest, a call to action is a single sentence that tells the reader to do something, using the imperative tense:

Call us now to claim your FREE sample copy of Lawnmower World.

Note the key characteristics of the basic call to action:

• It communicates the DCR, preserving its three key attributes (clear, simple and specific).
• It links the DCR with a benefit for the reader (in this case, a free magazine). This is essential. A call to action offers a quid pro quo. ‘If you do this,’ we’re saying to the reader, ‘you’ll get that.’ The benefit need not be concrete, but there must be something in it for the customer, even if it’s only useful information on a product.
• It commands the reader directly, with no equivocation. The impact can be softened with ‘please’, but this is rarely necessary. People generally avoid the imperative in conversation, but commands aren’t always confrontational and may often be welcomed or reassuring. (For example: ‘Sit down, have a coffee and let me take care of it.’)
• It tells the reader when to act (‘now’) instead of leaving the timeframe open-ended.

The simple ‘sanity check’ for calls to action is to read them through and ask yourself whether you’d be happy if the reader did exactly what you’re asking, no more and no less.

It’s OK to vary the content of your call to action (for example, to add variety if it appears on more than one page in your site), but the message (i.e. the underlying DCR) should always be the same.

Add the power of persuasion

Sometimes, it’s not enough just to tell people what to do. They need to know why they should do it. To address this need, you can use principles of persuasion to add more power to your call to action.

There are a number of proven ways to persuade readers to act, which I’ve covered elsewhere, so here are some examples with links through to posts that will explain the persuasive principle that drives them. 

Thousands of businesses have already unlocked huge productivity gains by switching to BookKeeper. Call us to discover how you could join them. (Social proof: do as others are doing.)

Are you tired of scrubbing off limescale? Pick up a FREE trial pack of ScaleAway at your local store and say goodbye to it for ever. (Consistency: taking the desired action is consistent with the response to the question being asked.)

We all know how hard it is to find presents that friends and family will really love. So make Christmas easier this year at greatgifts.com. (Liking: alluding to a rapport or shared interest with the reader.)

Doctors recommend eating at least five portions of fruit and vegetables a day. Call today to order your regular organic box from Willow Farm and make sure you have delicious fresh produce ready to eat, every day. (Authority: the opinion of a reputable source supports the DCR.)

Embedded commands

In NLP, embedded commands are sentences embedded within longer sentences that act as cues on the unconscious level. In theory, they direct the reader towards the DCR by subliminally planting an idea in their mind.

The great thing about embedded commands is that they can be scattered throughout the text without interrupting the flow or irritating the reader (if you have a good enough copywriter, that is).

Here are a few examples, with the embedded command in bold:

When you choose our service, you’re tapping into decades of expertise.

How good would it feel to book a short break right now?

You can call our order hotline 7 days a week.

Think about the benefits that will be realised for your business when you work with a professional accountant.

Most customers who buy in bulk from us make big savings.

You don’t even need to visit your nearest branch – we’re also available online and by phone.

It won’t always be possible to include the DCR explicitly in an embedded command. Instead, the embedded commands can ‘soften up’ the reader by gently introducing the general theme of the DCR, before you hit them with the direct call to action at the end.