Hyper-targeting isn’t new.  Nei­ther is intru­sive media.

But a com­bi­na­tion of the two… could be incred­i­bly effec­tive.  Just imag­ine if Face­Book had ads like this Apple Skyscraper/Banner ad:

Apple Ad

Watch the fully ani­mated ad over at The Unof­fi­cial Apple Weblog — it’s quite obvi­ously an intru­sive ad (in a good way).

For those unfa­mil­iar with the term, intru­sive basi­cally equals sound: radio or tele­vi­sion, and, to a degree, ani­mated ban­ner ads.  It’s intru­sive because you can’t close your ears and the ads inter­rupt some­thing else that you are doing, like lis­ten­ing to music or watch­ing TV or read­ing the online ver­sion of the NYT.

Yet when it comes to radio and tele­vi­sion, select­ing the show or sta­tion is as tar­geted as it gets. That’s why they call it mass media and broadcast­ing.  Direct mail, on the other hand, can be tar­geted by gen­der, age, income, buy­ing activ­i­ties, inter­ests, pro­fes­sion, etc — yet still man­ages to get dumped in the trash unopened and un-looked at a shock­ing per­cent­age of the time.

Which brings us back to the target-ability of Face­book ads.  Want to only show your ads to moth­ers of 3 kids between the ages of 32–38 who live on the west side of New­port, RI?  No sweat.  Want to make sure those same moth­ers of three actu­ally LOOK at your ad?  Hous­ton we have a prob­lem.

2009-11-04_2345As of now, Face­Book ads are mostly sta­tic and entirely with­out sound.  There also kind of, um, spammy. With­out motion or sound to attract mem­bers’ atten­tion, most ads end up look­ing like the exam­ple to the left.

But ban­ner ads/online space ads don’t have to be that way, as the recent Apple ad proves.  Nor does Face­Book have to give up edi­to­r­ial con­trol on what kind of ads get run.  Just like many fash­ion mag­a­zines already do, Face­Book could require ads to meet a cer­tain non-annoying or cool thresh­old.

Flash dri­ven ads with sound that had a high cre­ative thresh­old could prove to be the best of both worlds.  You’d get tar­geted ads that are also intru­sive enough to seduce Face­Book view­ers away from their news­feeds long enough to watch and click through.

What do you think?

Misery“Oh, hey, I’m so glad to see you, I really wanted to talk about our rela­tion­ship!  And I also think you’d make great friends with this other girl I know…”

“Um, like, I know I go to your Star­bucks a lot and see you behind the check­out counter a few times a week, but… what freak­ing rela­tion­ship are you talk­ing about?”

If that dia­logue sounds silly, it’s the kind of thing that hap­pens every day through Social Media and online tools like Twit­ter, Face­Book, Blogs, e-mail, etc.  Com­pa­nies some­how assume that because you’ve vis­ited their site or bought some­thing from them, that it is now appro­pri­ate to act as your buddy — or worse, that they can try to lever­age your friends/networks for their own, self­ish purposes.

Offline, this behav­ior would be creepy and bor­der­line stalker-ish.  Bring­ing it online doesn’t make it any­more well received, accord­ing to a new e-Marketer Dig­i­tal Intel­li­gence study:

US con­sumers are most inter­ested in brands that keep them up to date and improve their knowl­edge. And they do not want brands to act like their friends.”

So what DO con­sumers want from com­pa­nies using Social Media & Online tools?  Here are the high­lights from the study :

Help­ing con­sumers keep up to date on top­ics that were impor­tant to them was also key, fol­lowed by being enter­tain­ing, becom­ing part of a daily rou­tine, and inform­ing con­sumers about the prod­uct and the com­pany. Con­sumers were rel­a­tively unin­ter­ested in brands that tried to act like their friends.”

Sounds about right to me.

* Hat tip to Zen Pun­dit and Critt Jarvis over at Strate­gis

andiblameyouWhile I love, love, love Melissa Karnaze’s Copy­blog­ger post on how to make Writer’s Block a “Secret Weapon,” there’s like 5% 0f the time when what she describes as writer’s block isn’t quite what I experience.

Her premise: if you’re hav­ing trou­ble say­ing it, you prob­a­bly aren’t all that clear on what you want to say.

But what if you know what you want to say, but you’re goon­ing up the emo­tion? What if you need a scalpel and your pen feels like a chainsaw?

Well, even though the fol­low­ing may not make any sense, it always works for me:

  1. Go visit Post­Se­cret.
  2. Read through the secrets till you find 2–3 really juicy ones.  Not juicy as in par­tic­u­larly lurid, but as in wince induc­ing.  Your heart should go out to the per­son.  Or there should be a “pucker fac­tor” in read­ing their secret.
  3. Now that you have a few of those, pick one and start imag­in­ing the per­son who wrote it. Cre­ate a char­ac­ter, back­story, etc.
  4. Spend about 10 min­utes writ­ing the first sev­eral para­graphs or page of a short story that starts with the Post Secret state­ment and that cen­ters around your char­ac­ter.  Make sure to set a timer of some sort.

When the timer goes off you’ll be on the other side of the world from the emo­tional and men­tal state you started in.  And the bor­rowed wings of your nar­ra­tive will fly with you when you go back to writ­ing your copy.

* Spe­cial thanks to Holly Buchanan for intro­duc­ing me to Post Secret

Disgusting BathroomIn a restau­rant, clean bath­rooms por­tend clean kitchens, or so says the cliche.

Regard­less of how rea­son­able it is or isn’t, we instinc­tively attempt to con­firm a “brand promise” of atten­tion to detail in the kitchen by look­ing for evi­dence of it through­out the rest of the restaurant.

We believe in inter­nal con­sis­tency - a belief that’s hardly lim­ited to restaurants.

Clean Bath­rooms and Your Website’s UVP

where should the Unique Value Propo­si­tion go on my Website?”

Peo­ple often ask me that, and — with the clean bath­room the­ory firmly in mind — I usu­ally reply with a ques­tion of my own: “where does the cho­rus or refrain go in a song?”

Some­times it comes off as a bit of a non-sequitur, but a lit­tle guided dis­cov­ery quickly estab­lishes the fol­low­ing points about song refrains:

  1. The refrain car­ries the theme of the song.  Even when you can’t remem­ber the name of the song, you’ll usu­ally recall the refrain, because that’s the heart of the song
  2. The rest of the song fleshes out, sub­stan­ti­ates, and sup­ports the refrain.  The stan­zas and the refrain are inti­mately connected.
  3. The refrain is repeated over and over, and in the best songs, each rep­e­ti­tion gains mean­ing and emo­tional weight from the stan­zas that pre­ceded it.

To see how this works online, sim­ply sub­sti­tute “UVP” for “refrain” and “Web­site” for “song” and here’s what you get:

  1. The UVP car­ries the theme of the Web­site.  In other words the rea­son vis­i­tors would want to do busi­ness with you should lie at the heart of your online mes­sag­ing.  If it’s not, you’re spend­ing too much time talk­ing about what you want to talk about rather than what’s impor­tant to the customer.
  2. The rest of the Web­site should flesh out, sub­stan­ti­ate, and sup­port your UVP.  Peo­ple will look to see if you back-up what you claim. If the rest of your site doesn’t jibe with the UVP, you’ll lose cred­i­bil­ity and, ulti­mately, lose the sale.
  3. The UVP is repeated over and over (though not ver­ba­tim or in entirety) from dif­fer­ent angles or per­spec­tives, such that the claims and promises gain weight, cred­i­bil­ity, and emo­tional res­o­nance with each click or page.

The Bot­tom Line:

Treat­ing your UVP as a song refrain helps to insure inter­nal consistency

It forces you to check your own site for clean bath­rooms.  So when vis­i­tors look to cor­rob­o­rate your claims by cross ref­er­enc­ing the var­i­ous ele­ments and pages of your Web­site, they’ll become increas­ingly reas­sured and con­fi­dent with each click.

For exam­ple, if you are a local con­trac­tor spe­cial­iz­ing in com­plet­ing base­ment ren­o­va­tions and garage enclo­sures in half the time of tra­di­tional con­trac­tors, your Web vis­i­tors will expect to see your claimed spe­cialty and value propo­si­tion reflected in your:

  • prior work history,
  • qualifications/certifications
  • gallery of projects,
  • guar­an­tees,
  • tes­ti­mo­ni­als, etc.

If each of those ele­ments speaks to your spe­cial­ized focus and your half-the-time claims, you’ll win a lot more leads.  If they don’t sup­port your UVP, your vis­i­tors will likely go else­where for their renovations.

Also, if you claim to only hire the best, expect a fair amount of prospec­tive cus­tomers click­ing through your employ­ment pages to see what your REAL stan­dards of employ­ment are. And you bet­ter have “clean bath­rooms” because this ain’t the­ory, I’ve sat and watched vis­i­tors do exactly that via ana­lyt­ics and ser­vices such as Click Tales, OnTar­get, and Tea Leaf.

A Video­cast Full of Great “Clean Bath­room” Specifics for Websites

A great video-cast/discussion on this topic was cre­ated by my fel­low Wiz­ard of Ads Part­ner, Dave Young, when he dis­cusses the cred­i­bil­ity cues he inten­tion­ally baked into the Web­site for Roof Life of Ore­gon.

Please enable Javascript and Flash to view this Vid­dler video.

So go take a fresh look at your Web­site and ask yourself:

  • Have you woven a refrain through­out your Website’s messaging?
  • How does each page of your site work to sub­stan­ti­ate and cor­rob­o­rate your main claims/UVP?

Question vs. Concern“Do you have any questions?”

Are you and your staff ask­ing that of your prospec­tive cus­tomers? Do your sur­veys ask the same thing?

While your intent is admirable, your phras­ing just might be ham­per­ing sales, and I’d like to sug­gest a far more effec­tive variation.

But to under­stand the power of the vari­a­tion, you have to under­stand what’s wrong with the ques­tion you’re cur­rently asking.

The Magic of Word Association

It comes down to word asso­ci­a­tions. Our asso­ci­a­tions — our emo­tional reac­tions to words — often have very lit­tle to do with a word’s dry def­i­n­i­tions. Take “dis­crim­i­nate.” Are the host of emo­tions and men­tal images evoked by that word explained by the dic­tio­nary def­i­n­i­tion: to note a dif­fer­ence; to make a distinction?

And even though the two words have sim­i­lar def­i­n­i­tions, is it really that sur­pris­ing that every­one wants to be nor­mal but no one wants to be aver­age?

So, what are the asso­ci­a­tions behind the phras­ing: “Do you have any question?”

Well, let’s skip to the word “ques­tion” itself. A ques­tion is usu­ally imag­ined as fully-formed, well-articulated, and for the most part, direct. And emo­tion­ally speak­ing, ask­ing a ques­tion is often felt as reveal­ing or imply­ing igno­rance or weak­ness.  And then there’s the pre­sup­po­si­tion of the “Do you” part of your phras­ing, which assumes the prospect may not have any questions.

Ask me if I have any ques­tions and chances are I’ll say, “no.” I prob­a­bly haven’t for­mu­lated my thoughts yet, and quite frankly, I don’t want to sound like a bozo in front of the sales staff. “No” is safe. I like safe; I’d bet most of your prospects feel the same way, too.

How to take the neg­a­tive asso­ci­a­tions away from ask­ing a question

But what if you ask me about my CONCERNS? Ahhhh. Now I have per­mis­sion to be vague, to take my time…and to not feel like I’m admit­ting ignorance.

If I’m express­ing con­cerns (rather an ask­ing a ques­tion), I can tell you about emo­tional things like doubts.

Did you think word­smithing was only impor­tant to your adver­tis­ing copy? Is your sales team hear­ing “No” more often than you’d pre­fer? Try a lit­tle word­smithing; have them ask, “So what are your concerns?”

Appli­ca­tions to Online Copywriting

And if you’re read­ing this as a copy­writer, ask your­self this:

Are you expect­ing vis­i­tors to use for­mal nav­i­ga­tion in order to arrive at your question-answering content?

Or are you antic­i­pat­ing the asso­ci­a­tional flow of the con­ver­sa­tion and sup­ply­ing embed­ded links and embed­ded page ele­ments like videos, tes­ti­mo­ni­als, and pic­tures that would allow vis­i­tors to quickly drill down on areas of con­cern with­out hav­ing to explic­itly acknowl­edge and con­sciously think about those concerns?

Does your copy address con­cerns, or just answer questions?

KittySome­times an audience’s resis­tance to buy­ing has noth­ing to do with intel­lec­tual uncer­tainty.  They under­stand What’s In It for Them and they “get” the log­i­cal argu­ments, but they’re still not per­suaded to act.

In these cases, audi­ence doubt can some­times stem from an emo­tional con­fu­sion. The facts may sup­port your claim, but those facts clash with the reader’s known real­ity. This is when you need a (pre­dom­i­nantly) emo­tional mes­sage, rather than an intel­lec­tual one.

  • Intel­lec­tual ads present the audi­ence with new information
  • Emo­tional ads cause the audi­ence to feel dif­fer­ently about infor­ma­tion they already know.

Emo­tional ads work their magic by rec­on­cil­ing your claims to the audience’s  self-image and world-view, evap­o­rat­ing emo­tional uncer­tainty in the process and leav­ing your audi­ence ready to act.

The Wiz­ard of Ads Saves Christ­mas w/ an Emotion-Driven Ad

Roy Williams’ ad for Heisenberg’s Jew­el­ers mas­ter­fully demon­strates how to write this kind of emo­tional ad.  Before look­ing at the ad itself, here’s a lit­tle back­ground on the emo­tional con­flict Roy had to overcome:

Heisenberg’s Jew­el­ers had been in the same build­ing on Main Street in Cab­bage Val­ley for 105 years. A facelift 7 years ear­lier had given the store white car­pet, wal­nut pan­el­ing and a huge chan­de­lier in a high, domed ceil­ing. Heisenberg’s was the Sis­tine Chapel of jew­elry stores. Not a prob­lem, except that Cab­bage Val­ley is the turnip cap­i­tal of the world, a lit­tle farm­ing com­mu­nity of about 45,000 peo­ple. Even the wealth­i­est of Cab­bage Valley’s farm­ers felt they weren’t dressed well enough to enter that store. Heisenberg’s was truly an intim­i­dat­ing place.

Heisenberg'sNow imag­ine your goal is to get these farm­ers to come in and buy jew­elry.  What you’re fac­ing is NOT a lack of knowl­edge or insight: every­body in town knows that Heidelberg’s is THE pre­mier jew­elry store in town.  An intel­lec­tual per­spec­tive would be suicide.

What you’re up against is a clash of images. The farmer already has an image of who he is, and it’s one that involves cov­er­alls, hon­est work, and maybe a lit­tle dirt. In other words, an image that’s in direct con­flict with the idea of walk­ing into the ritzi­est store in town.

So, Roy re-framed the farmer’s self-image and made it 100% con­gru­ent with the act of walk­ing into the Sis­tine Chapel of jew­elry stores. In fact, he made walk­ing into that store an absolute must for the farmer who wished to keep his self-image intact. Here’s the ad:

“Ladies, many of you will be for­tu­nate enough this Christ­mas to find a small, but beau­ti­fully wrapped pack­age under your tree bear­ing a sim­ple gold seal that says ‘Heisenberg’s.’ Now you and I both know there’s jew­elry in the box. But the man who put it there for you is try­ing des­per­ately to tell you that you are more pre­cious than dia­monds, more valu­able than gold, and very, very spe­cial. You see, he could have gone to a depart­ment store and bought depart­ment store jew­elry, or picked up some­thing at the mall like all the other hus­bands. But the men who come to Heisenberg’s aren’t try­ing to get off cheap or easy. Men who come to Heisenberg’s believe their wives deserve the best. And whether they spend 99 dol­lars or 99 hun­dred, the mes­sage is the same: Men who come to Heisenberg’s are still very much in love… We just thought you should know.”

See what I’m talk­ing about?  Rather than think­ing, “I’m a farmer and not really dressed to walk into such a ritzy store,” the ad caused men to think “I’m a devoted hus­band (who doesn’t want to be sleep­ing in the dog house come Christmas)”

Don’t Mess with Texas: the power of an emotion-driven campaign

dontAnother fine exam­ple of this strat­egy comes from the Don’t Mess with Texas cam­paign, as explained in the Heath broth­ers must-read book Made to Stick.

Texas had a lit­ter prob­lem — and it wasn’t caused by Austin envi­ron­men­tal­ists dri­ving around in their Volvos. Nor was it caused by peo­ple who “didn’t know any bet­ter.” Texas sur­mised that their lit­ter prob­lem was caused by cit­i­zens who felt that a mod­ern sen­si­tiv­ity to lit­ter was a lit­tle too mamby-pamby-ish for them. It con­flicted with their self-image.

In other words, the self-image of these truck-driving, young men was one inspired by strong inde­pen­dence, anti-authoratarianism, a rejec­tion of any­thing too “Polit­i­cally Cor­rect,” AND a very strong self-identity as Texans.

So the Ad agency elected NOT to run a typ­i­cal PSA pre­sent­ing new facts about the dam­age lit­ter causes.  Instead, they re-framed con­cern for lit­ter from a pro-environmental con­cern to a Pro-Texas Concern.

Not lit­ter­ing was posi­tioned as a mat­ter of Texas-pride, where manly-man, unde­ni­ably Texan celebri­ties came out against lit­ter­ing, say­ing “Don’t mess with Texas.”

The “Don’t Mess with Texas” cam­paign rec­on­ciled the con­flict­ing images, and the inci­dence of road­side lit­ter decreased 72% between 1986 and 1990.

A 4-step process for cre­at­ing emo­tional messaging:

1. Find the source of your prospects cog­ni­tive dis­so­nance. In order to do this, you have to see your cus­tomer real. To see them real, it helps to con­tex­tu­al­ize their need for your prod­uct within the entire scope of their lives and self-image.   Fully mod­el­ing your audi­ence allows you greater insight into how they see them­selves and what their pre­con­cep­tions and con­cerns actu­ally are.

2. Find a prod­uct or sales image that reaf­firms that pre­con­cep­tion. That’s right, reaf­firms. Point­ing out the lim­its within which the reader’s under­stand­ing holds true and point­ing out the lim­its beyond which they are false are both exer­cises in defin­ing lim­its. But the emo­tional dis­tance between the two approaches sep­a­rates suc­cess from failure.

So tell them how their con­cep­tion of things is right, then show your pro­posed action to be con­so­nant with that con­cep­tion. Or, at the least, show them the lim­its within which their con­cep­tion is right, while also gen­tly point­ing out what hap­pens beyond those limits.

If you really want to con­vince a kid that flu­ids move faster through a nar­row­ing (a la the bernoulli’s prin­ci­ple), acknowl­edg­ing that tooth­paste doesn’t work that way (and explain­ing why) makes things a lot eas­ier.  Sim­i­larly, Roy’s ad recon­firms the idea that Hiesenberg’s is an uncom­fort­able place to shop, and the Don’t Mess with Texas ads recon­firmed the “cow­boy” image of its tar­get audience.

3. Now, intro­duce a new men­tal image that re-frames your mes­sage & rec­on­ciles the prospects self-image with the action you want them to take. Roy intro­duces a new self-image for the farmer’s in his audi­ence: that of a faith­ful and lov­ing hus­band. The State of Texas intro­duced a new men­tal image for the “bub­bas” watch­ing the TV cam­paign: that of a Texan’s Texan tak­ing lit­ter as an assault on Texas-pride.  Both images re-framed how the audi­ence felt about the pro­posed action, whether that action was walk­ing into a scary-expensive jew­elry store or refrain­ing from littering.

4. Make sure your new image already fits the audience’s self-image or men­tal model. If you want full con­vic­tion from your read­ers, you’ll have to leave them feel­ing as though this new way of look­ing at things is really a con­fir­ma­tion of what they’ve truly believed all along.

You can’t con­vince farm­ers that they aren’t farm­ers or that they’re really sophis­ti­cated sub­ur­ban­ites.  You have to pick a self-image that they are already com­fort­able with, like that of a devoted hus­band.  And you can’t con­vince bubba the cow­boy that he’s really a crunchy gra­nola type.  But you can con­vince him that cow­bows have always respected and pro­tected their own land.

[Emo­tion­eer­ing is a trade­marked word coined by Hol­ly­wood screen­writ­ing and video game guru David Free­man.  I’ve co-taught with David on a few occa­sions and can’t rec­om­mend his mate­r­ial highly enough, espe­cially his book, Cre­at­ing Emo­tion in Games.]

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