But as a professional, your obligation to your client is to increase sales at the lowest possible cost. If a classified ad works better than a full-page ad, use it. If a simple typewritten letter gets more business than a four-color brochure, mail the letter.
The Copywriter’s Handbook is written to teach you how to write copy that sells. For copy to convince the consumer to buy the product, it must do three things: 1. Get attention. 2. Communicate. 3. Persuade.
The Internet has made consumers more savvy, training them to shun promotion, more easily detect hype, become increasingly skeptical, and prefer educational-type advertising material: advertising that respects their intelligence, does not talk down to them, and conveys information they perceive as valuable in solving their problem or making a purchasing decision.
Ogilvy says that putting a new headline on an existing ad has increased the selling power of the ad tenfold. What is it that makes one headline a failure and the other a success? Many copywriters fall into the trap of believing that clever wordplay, puns, and “cute” copy make for a good headline. But think a minute. When you make a purchase, do you want to be amused by the salesclerk? Or do you want to know that you’re getting quality merchandise at a reasonable price? The answer is clear. When you shop, you want products that satisfy your needs—and your budget. Good copywriters recognize this fact, and put sales appeal—not cute, irrelevant gimmicks and wordplay—in their headlines. They know that when readers browse ad headlines, they want to know: “What’s in it for me?” The effective headline tells the reader: “Hey, stop a minute! This is something that you’ll want!” As mail-order copywriter John Caples explains, “The best headlines appeal to people’s self-interest, or give news.”
Here’s what David Ogilvy, author of Confessions of an Advertising Man, says about headlines: The headline is the most important element in most advertisements. It is the telegram which decides whether the reader will read the copy. On average, five times as many people read the headline as read the body copy. When you have written your headline, you have spent eighty cents out of your dollar. If you haven’t done some selling in your headline, you have wasted 80 percent of your client’s money.
Let’s look at a few examples: • A classic appeal to self-interest is the headline “How to Win Friends and Influence People,” from an ad for the Dale Carnegie book of the same name. The headline promises that you will make friends and be able to persuade others if you read the ad and order the book. The benefit is almost irresistible. Who but a hermit doesn’t want more friends? • An ad for Kraft Foods appeals to the homemaker with the headline, “How to Eat Well for Nickels and Dimes.” If you are interested in good nutrition for your family but must watch your budget carefully, this ad speaks directly to your needs. • The headline for a Hellmann’s Real Mayonnaise ad hooks us with the question, “Know the Secret to Moister, Richer Cake?” We are promised a reward—the secret to moist cake—in return for reading the copy. Each of these headlines offers a benefit to the consumer, a reward for reading the copy. And each promises to give you specific, helpful information in return for the time you invest in reading the ad and the money you spend to buy the product.
Headlines do more than get attention. The Dale Carnegie headline, for example, lures you into the body copy of the ad by promising useful information. The Hellmann’s ad also gets you interested in reading more. And it selects a specific type of reader—those people who are interested in baking cakes. Your headline can perform four different tasks: 1. Get attention. 2. Select the audience. 3. Deliver a complete message. 4. Draw the reader into the body copy.
Other powerful attention-getting words include how to, why, sale, quick, easy, bargain, last chance, guarantee, results, proven, and save. Do not avoid these words because other copywriters use them with such frequency. Other copywriters use these words because they work. You should, too.
Free is the most powerful word in the copywriter’s vocabulary. Everybody wants to get something for free.
Another effective attention-getting gambit is to give the reader news. Headlines that give news often use words such as new, discover, introducing, announcing, now, it’s here, at last, and just arrived.
Grade your performance as a copywriter on sales generated by your copy, not on originality.
Headlines that offer the reader useful information are also attention-getters. The information promised in the headline can be given in the copy or in a free booklet the reader can send for.
When you write a headline, get attention by picking out an important customer benefit and presenting it in a clear, bold, dramatic fashion. Avoid headlines and concepts that are cute, clever, and titillating but irrelevant. They may generate some hoopla, but they do not sell.
If you are selling life insurance to people over 65, there is no point in writing an ad that generates inquiries from young people. In the same way, an ad for a $65,000 sports car should say, “This is for rich folks only!” You don’t want to waste time answering inquiries from people who cannot afford the product. The headline can select the right audience for your ad and screen out those readers who are not potential customers. A good headline for the life insurance ad might read, “To Men and Women Over 65 Who Need Affordable Life Insurance Coverage.” One possible headline for the sports car ad is, “If You Have to Ask How Many Miles to the Gallon It Gets, You Can’t Afford to Buy One.”
Ogilvy recommends that you include the selling promise and the brand name in the headline. Many effective headlines don’t include the product name. But put it in if you suspect most of your prospects won’t bother to read the copy underneath.
To draw the reader into the body copy, you must arouse his or her curiosity. You can do this with humor, or intrigue, or mystery. You can ask a question or make a provocative statement. You can promise a reward, news, or useful information.
A sales letter offering motivational pamphlets was mailed to business managers. The headline of the letter was, “What Do Japanese Managers Have That American Managers Sometimes Lack?” Naturally, American managers wanted to read on and find out about the techniques the Japanese use to manage effectively. A headline for an ad offering a facial lotion reads: “The $5 Alternative to Costly Plastic Surgery.” The reader is lured into the ad to satisfy her curiosity about what this inexpensive alternative might be. The headline would not have been as successful if it said, “$5 Bottle of Lotion Is an Inexpensive Alternative to Costly Plastic Surgery.”
It’s only natural for a creative person to avoid formulas, to strive for originality and new, fresh approaches. To the creative writer, many of the headlines in this chapter might seem to follow rigid formulas: “How to . . ,” “Three Easy Ways . . . ,” “Introducing the New . . .” And to an extent, copywriters do follow certain rules, because these rules have been proven effective in thousands of letters, brochures, ads, and commercials.
1. Direct Headlines Direct headlines state the selling proposition directly, with no wordplay, hidden meanings, or puns. “Pure Silk Blouses—30 Percent Off” is a headline that’s about as direct as you can get.
2. Indirect Headlines The indirect headline makes its point in a roundabout way. It arouses curiosity, and the questions it raises are answered in the body copy.
3. News Headlines If you have news about your product, announce it in the headline. This news can be the introduction of a new product, an improvement of an existing product (“new, improved Bounty”), or a new application for an old product.
4. How-to Headlines The words how to are pure magic in advertising headlines, magazine articles, and book titles. There are more than 7,000 books in print with how to in their titles. Many advertising writers claim if you begin with how to, you can’t write a bad headline. They may be right.
5. Question Headlines To be effective, the question headline must ask a question that the reader can empathize with or would like to see answered.
Question headlines should always focus on the reader’s self-interest, curiosity, and needs, and not on the advertiser’s. A typical self-serving question headline used by many companies reads something like, “Do You Know What the XYZ Company Is Up to These Days?” The reader’s response is “Who cares?” and a turn of the page.
6. Command Headlines Command headlines generate sales by telling your prospects what to do.
Note that the first word in the command headline is a strong verb demanding action on the part of the reader.
7. Reason-Why Headlines One easy and effective way of writing body copy is to list the sales features of your product in simple 1-2-3 fashion. If you write your ad this way, you can use a reason-why headline to introduce the list. Examples of reason-why headlines include “Seven Reasons Why You Should Join the American Institute of Aeronautics and Astronautics” and “120 to 4,000 Reasons Why You Should Buy Your Fur During the Next Four Days.” Reason-why headlines need not contain the phrase “reason why.” Other introductory phrases such as “6 ways,” “7 steps,” and “here’s how” can do just as well.
8. Testimonial Headlines In a testimonial advertisement, your customers do your selling for you. An example of a testimonial is the Publishers Clearinghouse commercial in which past winners tell us how they won big prize money in the sweepstakes. Testimonials work because they offer proof that a business satisfies its customers. In print ad testimonials, the copy is written as if spoken by the customer, who is usually pictured in the ad. Quotation marks around the headline and the body copy signal the reader that the ad is a testimonial. When writing testimonial copy, use the customer’s own words as much as possible. Don’t polish his statements; a natural, conversational tone adds believability to the testimonial.
A “swipe file” is a collection of promotions that you turn to for reference when creating your own marketing materials. The best way to get ideas for headlines when you are stuck is to keep a swipe file and consult it for inspiration when you sit down to write a new ad or mailing.
When prospects see your ad, they make a quick decision, usually in a couple of seconds, to read it or turn the page, based largely on the subject line. But given the flood of commercial messages today, how can you convince a busy prospect—in just a few words—that your ad is worthy of attention? The “4 U’s” copywriting formula—which stands for urgent, unique, ultra-specific, and useful—can help.
1. Urgent. Urgency gives the reader a reason to act now instead of later. You can create a sense of urgency in your headline by incorporating a time element. For instance, “Make $100,000 working from home this year” has a greater sense of urgency than “Make $100,000 working from home.” A sense of urgency can also be created with a time-limited special offer, such as a discount or premium if you order by a certain date. 2. Unique. The powerful headline either says something new, or if it says something the reader has heard before, says it in a new and fresh way. For example, “Why Japanese women have beautiful skin” was the headline in an e-mail promoting a Japanese bath kit. This is different than the typical “Save 10% on Japanese Bath Kits.” 3. Ultra-specific. Boardroom, a newsletter publisher, is the absolute master of ultra-specific bullets, known as “fascinations,” that tease the reader into reading further and ordering the product. Examples: “What never to eat on an airplane,” “Bills it’s okay to pay late,” and “Best time to file for a tax refund.” 4. Useful. The strong subject line appeals to the reader’s self-interest by offering a benefit. In the headline, “An Invitation to Ski & Save,” the benefit is saving money.
MORE HEADLINE TIPS Here are a few points to consider when evaluating headlines: • Does the headline promise a benefit or a reward for reading the ad? • Is the headline clear and direct? Does it get its point across simply and quickly? • Is the headline as specific as it can be? (“Lose 19 Pounds in Three Weeks” is a better headline than “Lose Weight Fast.”) • Does the headline reach out and grab your attention with a strong sales message, dramatically stated in a fresh new way? • Does the headline relate logically to the product? (Avoid “sensationalist” headlines that lure you with ballyhoo and then fail to deliver what they promise.) • Do the headline and visual work together to form a total selling concept? • Does the headline arouse curiosity and lure the reader into the body copy? • Does the headline select the audience? • Is the brand name mentioned in the headline? • Is the advertiser’s name mentioned in the headline? • Avoid blind headlines—the kind that don’t mean anything unless you read the copy underneath. (“Give It a Hand” is a blind headline used in a recent ad for facial powder.) • Avoid irrelevant wordplay, puns, gimmicks, and other copywriter’s tricks. They may make for amusing advertising, but they do not sell products. • Avoid negatives. (Instead of “Contains No Sodium,” write “100% Sodium-Free.”)
Let me tell you how I go about writing a headline. You may find these techniques useful in your own work. First, I ask three questions: 1. Who is my customer? 2. What are the important features of the product? 3. Why will the customer want to buy the product? (What product feature is most important to him?)
Showmanship, clever phrases, and ballyhoo do not, by themselves, make for a good headline. Creating headlines that are wonderfully clever is worthwhile only if the cleverness enhances the selling message and makes it more memorable. Unfortunately, many copywriters engage in creativity for creativity’s sake, and the result is cleverness that obscures the selling message.
If you have to choose between being clever and obscure or simple and straightforward, I advise you to be simple and straightforward. You won’t win any advertising awards. But at least you’ll sell some merchandise.
advertising is most effective when it is easy to understand. In other words, you sell more merchandise when you write clear copy.
“Borrowed interest” is a major cause of confusing copy. There are others: lengthy sentences, clichés, big words, not getting to the point, a lack of specifics, technical jargon, and poor organization, to name a few.
One technique to help you write for the reader is to address the reader directly as “you” in the copy, just as I am writing to you in this book. Copywriters call this the “you-orientation.” Flip through a magazine, and you’ll see that 90 percent of the ads contain the word “you” in the body copy.
“Start writing to people,” says Custer. “It’s okay that you don’t know your reader! Picture someone you do know who’s like your reader. Then write to him.” Think of the reader. Ask yourself: Will the reader understand what I have written? Does he know the special terminology I have used? Does my copy tell her something important or new or useful? If I were the reader, would this copy persuade me to buy the product?
The headline states the main selling proposition, and the first few paragraphs expand on it. Secondary points are covered later in the body copy. If this copy is lengthy, each secondary point may get a separate heading or number.
The speechwriter first gives an overview of the presentation, covers the important points in sequence, and then gives a brief summary of these points. Listeners, unlike readers, cannot refer to a printed page to remind them of what was said, and these overviews and summaries help your audience learn and remember.
Terry C. Smith, a communications manager with Westinghouse, has a rule for organizing sales points in speeches and presentations. His rule is: “Tell them what you’re going to tell them. Tell them. And then, tell them what you told them.”
If the content of your ad can be organized as a series of sales points, you can cover each point in a separate section of copy. This isn’t necessary in short ads of 150 words or less. But as length increases, copy becomes more difficult to read. Breaking the text into several short sections makes it easier to read.
Paragraphs should also be kept short. Long, unbroken chunks of type intimidate readers. A page filled with a solid column of tiny type says, “This is going to be tough to read!”
When you edit your copy, use subheads to separate major sections. Leave space between paragraphs. And break long paragraphs into short paragraphs. A paragraph of five sentences can usually be broken into two or three shorter paragraphs by finding places where a new thought or idea is introduced and beginning the new paragraph with that thought.
Short sentences are easier to read than long sentences. All professional writers—newspaper reporters, publicists, magazine writers, copywriters—are taught to write in crisp, short, snappy sentences. Long sentences tire and puzzle your readers. By the time they have gotten to the end of a lengthy sentence, they don’t remember what was at the beginning.
the best average sentence length for business writing is 14 to 16 words. Twenty to 25 words is passable, he adds, but above 40 words, the writing becomes unreadable.
Copy becomes dull when all sentences are the same length. To make your writing flow, vary sentence length. By writing an occasional short sentence or sentence fragment, you can reduce the average sentence length of your copy to an acceptable length even if you frequently use lengthy sentences.
Simple words communicate more effectively than big words. People use big words to impress others, but they rarely do.
RULE #1: Don’t use a technical term unless 95 percent or more of your readers will understand it. If your client insists you use jargon that is unfamiliar to your readers, be sure to explain these terms in your copy. RULE #2: Don’t use a technical term unless it precisely communicates your meaning. I would use software because there is no simpler, shorter way to say it. But instead of using deplane, I would just say, “Get off the plane.”
Good copy is concise. Unnecessary words waste the reader’s time, dilute the sales message, and take up space that could be put to better use. Rewriting is the key to producing concise copy. When you write your first draft, the words just flow, and you can’t help being chatty. In the editing stage, unnecessary words are deleted to make the writing sparkle with vigor and clarity.
Advertising persuades us by giving specific information about the product being advertised. The more facts you include in your copy, the better. Copywriters who don’t bother to dig for specifics produce vague, weak, meaningless copy.
the surest way to arouse and hold the attention of the reader is by being specific, definite, and concrete. The greatest writers—Homer, Dante, Shakespeare—are effective largely because they deal in particulars and report the details that matter.”
9. Go Straight to the Point If the headline is the most important part of an ad, then the lead paragraph is surely the second most important part. It is this lead that either lures the reader into the text by fulfilling the promise of the headline, or bores the reader with uninteresting, irrelevant, unnecessary words.
10. Write in a Friendly, Conversational Style Ann Landers was one of the most widely read columnists in the country. Why was she so popular? Said Ann, “I was taught to write like I talk.” People enjoy reading clear, simple, easy-to-understand writing. And the simplest, clearest style is to write the way you talk. (The writing experts call this “conversational tone.”) Conversational tone is especially important in advertising, where the printed page is an economical substitute for a salesperson. (The only reason companies advertise is that advertising can reach more people at less cost than a traveling salesperson can.) A light, conversational style is much easier to read than the stiff, formal prose of business, science, and academia. And when you write simply, you become the reader’s friend. When you write pompously, you become a bore.
John Louis DiGaetani recommends this simple test for conversational tone: “As you revise, ask yourself if you would ever say to your reader what you are writing. Or imagine yourself speaking to the person instead of writing.”
End with a Preposition Ending a sentence with a preposition adds to the conversational tone of the copy. And it’s a perfectly acceptable technique endorsed by Zinsser, Flesch, Fowler, and most other authorities on modern writing.
Begin Sentences with Conjunctions Beginning a sentence with and, or, but, or for makes for a smooth, easy transition between thoughts.
Use One-Sentence Paragraphs An occasional one-sentence paragraph provides a change of pace that can liven up a piece of copy. When all sentences and paragraphs are pretty much the same, the reader is lulled into a stupor, just as a driver can be hypnotized by a long stretch of straight road. A one-sentence paragraph is like a sudden curve in the road—it can shock your reader to wakefulness again.
Use Graphic Techniques To Emphasize Words or Phrases in the Copy College students use yellow markers to highlight sentences in their textbooks. This saves time in studying, since the highlights allow them to reread only the important material and not the entire book. Highlighting and underlining can make words and phrases stand out in print advertising and promotion as well as in schoolbooks. Many readers skim copy without reading it carefully, so an underline or highlight can be useful in calling out key words, phrases, paragraphs, and selling points.
Here is a list of mechanical techniques copywriters use to call attention to key words and phrases: underlines capital letters indented paragraphs boldface type italics colored type fake handwriting arrows and notes in margins yellow highlighting reverse type (white type on black background) boxed copy call-outs P.S. (in letters)
Use Bullets One of the most effective techniques for writing subscription copy is to present the publication’s content as a list of bulleted items, e.g., “7 ways to reduce your heating bill this winter.” Many copywriters rattle off the bullets quickly—and as a result settle for bullets that are ordinary and therefore not engaging. It takes a bit more energy and creativity to come up with a bullet item that is as strong and compelling as this classic from Boardroom: “What Never to Eat on an Airplane.” One of the most common mistakes with bullets is not including the right level of information. “Tell too much, and you give away the information free, and there is no need to order the product to find the answer,” says copywriter Parris Lampropolous. “For example, if your bullet says ‘how to erase pain by using an over-the-counter lotion called capsaicin,’ no curiosity is generated because you’ve already told the secret.” On the other hand, says Parris, if your bullet contains too little information, or not enough specific information, it fails to grab attention. “If you say ‘why B vitamins are an absolute must for people predisposed to this disease,’ you fail to hook me, because I don’t know what ‘this disease’ is,” says Parris.
His rule of thumb for writing strong bullets: Be specific about the problem; be vague and mysterious about the solution. Plus, do it with a twist, hook, or unusual angle.
A COPYWRITER’S CHECKLIST Before you release copy to the client or the art department, ask yourself these questions: • Does the copy fulfill the promise of the headline? If the headline is “How to Win Friends and Influence People,” the copy should tell you how to win friends and influence people. Copy that doesn’t fulfill the promise of the headline cheats the reader—and the reader knows it. • Is the copy interesting? Your copy can’t generate enthusiasm for the product if the reader yawns as she reads it. Tell a story, give news, improve the reader’s life. Make it interesting. You can’t bore people into buying your product. • Is it easy to read? When a person reads your copy, it is not his job to try to figure out what you mean. It is your job to explain what you mean in plain, simple English. Use short sentences, short paragraphs, small words. Be clear. • Is it believable? Once a teacher said of a phrase I had written, “Bob, this has all the sincerity of a three-dollar bill.” People mistrust advertising and advertising professionals. You must work hard to convince the reader that what you say is true. One way to establish credibility is to include testimonials from satisfied customers. Another is to offer a demonstration or scientific evidence that proves your claim. But the best way to get people to believe you is to tell the truth. • Is it persuasive? Clear, readable prose is not enough. Your copy must sell as well as communicate. To sell, your copy must get attention . . . hook the reader’s interest . . . create a desire for the product . . . prove the product’s superiority . . . and ask for action. (Chapter 4 covers the basics of salesmanship in print.) • Is it specific? To persuade people to buy, you have to give them specifics—facts, features, benefits, savings—reasons why they should buy the product. The more specific you are, the more informative and believable your copy. • Is it concise? Tell the whole story in as few words as possible. When you are finished, stop. • Is it relevant? Freelance copywriter Sig Rosenblum explains: “One of the rules of good copy is: Don’t talk about yourself. Don’t tell the reader what you did, what you achieved, what you like or don’t like. That’s not important to him. What’s important to him is what he likes, what he needs, what he wants.” Make sure your copy discusses facts that are relevant to the reader’s self-interest. • Does it flow smoothly? Good copy flows smoothly from one point to the next. There are no awkward phrases, no confusing arguments, and no strange terms to jar the reader and break the flow. • Does it call for action? Do you want the consumer to switch to your brand, send for a free brochure, call your sales representative, send you a check? Find the next step in the buying process and tell the reader to take it. Use coupons, reply cards, toll-free numbers, and other such devices to increase response.
The first step in writing copy that sells is to write about benefits and not about features. A feature is a descriptive fact about a product or service; it’s what the product is or has. A benefit is what the product does; it’s what the user of the product or service gains as a result of the feature.
For example, I’m writing this book on a PC. A feature of the machine is that it allows me to edit and revise what I’m typing electronically, so I can move a sentence or add a word without retyping the whole page. The benefit of this feature is that I save a lot of time and can increase my productivity (and make more money) as a result.
“Customers don’t buy products or services,” the firm explains. “They buy what these products and services are going to do for them. Yet many salespeople describe only the features, assuming the customer knows the benefits. Salespeople need to know how to translate features into benefits, and then present them in a customer-centered language.”
Here’s a simple technique for digging out a product’s benefits: divide a sheet of paper into two columns. Label the left-hand column “Features” and the right-hand column “Benefits.” In the left-hand column write down all the features of the product. Some of these you’ll find in the background material you’ve collected on the product (chapter 5 tells you what background material to collect). The rest you can learn by examining and using the product or by talking with people involved with the product: customers, salespeople, distributors, engineers. Then, go down the list of features and ask yourself, “What benefit does this feature provide to the customer? How does this feature make the product more attractive, useful, enjoyable, or affordable?”
The best known of these formulas is AIDA, which stands for Attention, Interest, Desire, Action. According to AIDA, the copy must first get the reader’s attention, then create an interest in the product, then turn that interest into a strong desire to own the product, and finally ask the reader to buy the product or take some other action that will eventually lead to a sale.
A second well-known formula is ACCA: Awareness, Comprehension, Conviction, Action. In ACCA, consumers are first made aware that the product exists. Then they must comprehend what the product is and what it will do for them. After comprehension, the readers must be convinced to buy the product. And finally, they must take action and actually make the purchase.
A third famous formula is the 4 P’s: Picture, Promise, Prove, Push. The copywriter creates a picture of what the product can do for the reader, promises the picture will come true if the reader buys the product, proves what the product has done for others, and pushes for immediate action.
1. Get Attention This is the job of the headline and the visual. The headline should focus on the single strongest benefit you can offer the reader. Some copywriters try to hook the reader with clever phrases, puns, or irrelevant information, then save the strongest benefit for a big windup finish. A mistake. If you don’t hook the reader with the strongest benefit—the most important reason why he or she should be interested in what you’re selling—the reader won’t get past the headline.
2. Show a Need All products, to some degree, solve some problem or fill a need. A car solves the problem of getting to and from work. An air conditioner prevents you from sweltering in summer heat. Toothpaste with fluoride keeps your teeth from getting holes in them. And mouthwash saves you the embarrassment of having bad breath. However, with most products, the need for the product may not be obvious or it may not be ingrained in the reader’s mind. The second step of writing copy that sells, then, is to show the reader why she needs the product. For example, many small-business owners do their own taxes and haven’t thought about hiring an accountant. But an accountant, with his superior knowledge of taxes, can take advantage of the latest tax regulations and shelters and save the business owner hundreds or even thousands of dollars in income tax. So an accountant seeking small businesses as clients might run an ad with the headline, “Would You Pay $1,000 to Save $5,500 a Year or More on Your Taxes?” This headline does double duty by grabbing attention with a provocative question and hinting at the need for professional help at tax time. Body copy could go on to explain how an accountant can save you enough money to justify his fee several times over.
Satisfy the Need and Position Your Product as a Solution to the Problem Once you’ve convinced the reader that he has a need, you must quickly show him that your product can satisfy his need, answer his questions, or solve his problems.
Here are a few proven techniques for convincing the readers that it’s to their advantage to do business with you: • Talk about the benefits of your product or service (use the features/benefits list as the source of your discussion). Give the reader reasons to buy by showing the benefits she’ll get when she owns your product. • Use testimonials. In testimonials, others who have used the product praise the product in their own words. This third-party endorsement is much more convincing than a manufacturer praising his own product. • Compare your product to the competition’s. Show, benefit for benefit, how you are superior. • If you have conducted studies to prove your product’s superiority, cite this evidence in the copy. Offer a free reprint of the study to interested readers. • Show that your company is reliable and will be in business a long time. Talk about number of employees, size of distributor network, annual sales, number of years in business, growth rate.
5. Ask for Action The last step in any piece of copy should always be a call for action. If the product is sold by mail, ask the reader to mail in an order. If the product is sold retail, ask the reader to clip the ad and bring it into the store.
USE “FALSE LOGIC” TO MAKE THE FACTS SUPPORT YOUR SALES ARGUMENTS False logic, a term coined by my friend, master copywriter Michael Masterson, is copy that, through skillful writing, manipulates (but does not lie about or misrepresent) existing facts. The objective: to help readers come to conclusions that these facts, presented without the twists of the copywriter’s pen, might not otherwise support. A catalog for Harry & David says of its pears, “Not one person in 1,000 has ever tasted them.” The statistic, as presented by the catalog writer, makes the product sound rare and exclusive—and that’s how the average reader interprets it, just as the copywriter intended. But a logician analyzing this statement might say that it simply indicates the pears are not very popular—almost no one buys them.
For years, McDonald’s advertised “billions sold” to promote their hamburger—leading customers to the false conclusion that just because something is popular, it is necessarily good. Publishers use similar logic when they trumpet a book as “a New York Times best-seller.”
Therefore, to be promoted effectively, your product must have a Unique Selling Proposition: a major benefit that other products in its category don’t offer.
1. Each advertisement must make a proposition to the consumer. Each must say, “Buy this product, and you will get this specific benefit.” Your headline must contain a benefit—a promise to the reader. 2. The proposition must be one that the competition either cannot, or does not, offer. Here’s where the unique in Unique Selling Proposition comes in. It is not enough merely to offer a benefit. You must also differentiate your product from other, similar products. 3. The proposition must be so strong that it can move the mass millions, i.e., pull over new customers to your product. The differentiation cannot be trivial. It must be a difference that is very important to the reader.
1. Stress an underpublicized or little-known benefit. Once a copywriter visited a brewery in the hopes of learning something that could set the brewery’s beer apart from other beers. He was fascinated to discover that beer bottles, like milk containers, are washed in live steam to kill the germs. Although all brands of beer are purified this way, no other manufacturer had stressed this fact. So the copywriter wrote about a beer so pure that the bottles are washed in live steam, and the brew’s Unique Selling Proposition was born.
Malcolm D. MacDougall, former president and creative director of SSC&B, says there are four ways to advertise seemingly similar products: 1. Stress an underpublicized or little-known benefit. Once a copywriter visited a brewery in the hopes of learning something that could set the brewery’s beer apart from other beers. He was fascinated to discover that beer bottles, like milk containers, are washed in live steam to kill the germs. Although all brands of beer are purified this way, no other manufacturer had stressed this fact. So the copywriter wrote about a beer so pure that the bottles are washed in live steam, and the brew’s Unique Selling Proposition was born. Study your list of product features and benefits. Then look at the competition’s ads. Is there an important benefit that they have ignored, one you can embrace as the Unique Selling Proposition that sets your product apart from all others? 2. Dramatize a known benefit in a compelling fashion. Radio Shack once ran a commercial showing two people using walkie-talkies, with each person standing on a different side of the Grand Canyon. Although most walkie-talkies work effectively over this distance, the Radio Shack commercial aimed to call attention to its product by demonstrating the walkietalkie’s range in a unique and dramatic fashion. 3. Dramatize the product name or package. Remember “Pez,” the candy that came in plastic dispensers made to resemble Mickey Mouse, Pluto, and other cartoon characters? Pez was an ordinary candy, but the package made it special. In the same way, the most unusual feature of L’Eggs pantyhose is not its design, fabric, or style but the egg-shaped package it is sold in. And those old Maypo commercials never proved that Maypo was any better than other hot cereals. They simply made the name—“I want my Maypo!”—a household word. Making your product name or package famous is one sure way to move merchandise off the shelves. But it’s also expensive. Unless your client is a major marketer with a million-dollar budget, this tactic will be tough to pull off. 4. Build long-term brand personalities. Another tactic used by the manufacturers of major national brands is to create advertising that gives their brand a “personality.” Thousands of Marlboro-man commercials once made Marlboro a “macho” cigarette. The old Don Meredith spots drummed into the consumer’s mind that Lipton Tea is “brisk” and “dandy tasting.” If you have millions to spend, you can use advertising to give your product a unique “personality” in the mind of the consumer. But even if your advertising budget is more modest, you can still use features and benefits to create a Unique Selling Proposition that sets your product apart from the rest.