I’m really starting to like Sally Bagshaw.

She has a knack for writing about writing in a way that’s fun and helpful.

Here’s Sally’s latest contribution to Pro Copy Tips for those of you who want to polish your product descriptions.

***

Writing product descriptions can be fun. It can also be mind numbingly boring, especially when you have a heap to do.

Products that are generic, or can be used by anyone, tend to be the most difficult to describe.

How do you tailor a message that speaks equally to a teenager, a stay-at-home mother and a granny?

Here’s a hint: Focus on the senses.

Did you know we use our senses to learn?

What’s more, we all favor different senses? That’s why there are different types of learners.

Personally, I’m a visual learner. I can understand a problem or concept if I can see or read it. Flowcharts are my savior. I love books. I want to take things apart to see how they work.

On the flip side, I’m terrible with remembering names when I’m introduced to someone. In fact, unless I write the name down (or see it written down), it’s as good as lost.

There are also auditory learners (they like hearing things and never forget a name spoken to them), kinetic learners (they like to touch things), olfactory learners (they go by smell) and gustatory learners (it’s all about taste).

Writing to appeal to the senses

You may be thinking, “This is all well and good, but what has it got to do with writing product descriptions?”

Glad you asked.

We naturally write with our own learning style in mind. For instance, if you asked me to write a product description for a rose, I would probably get carried away describing what it looked like, yet leave out what it smelled like.

The end result would be a description that would only appeal to other visual learners.

In order to get everyone to sit up and take notice, the trick is to appeal to all the senses, not just the one you prefer.

Let’s pretend you are selling sunscreen …

It’s a pretty common product that anyone can buy and use so you have to appeal to a wide audience.

Here goes:

Coconut crush sunscreen offers you year-round protection from UVA and UVB rays. Light and non-greasy, this non-whitening sunscreen is easy to apply and leaves your skin feeling soft and smooth with a hint of coconut fragrance.

It’s stylishly packaged in a recycled PET pump container for quick application on the go. Perfect for the next time you take a car load of noisy kids down to the beach.

See how easy that was?

• I described what it looked like (and what your skin looked like after using it) for the visual folk out there.
• Kinetic learners found out how it made your skin feel.
• Olfactory and gustatory learners were sated with the coconut reference.
• And finally (because sunscreen doesn’t make a sound), auditory learners were provided with a bit of noisy imagery to keep them happy.

If you have a product that isn’t so tangible, make the words do the work.

Try:

• visual words like sparkle, gleam, dark, shine, sheen
• auditory words like crackle, clunk, drip, ding, ping, buzz
• olfactory words like pungent, fresh, earthy
• gustatory words like sweet, sticky, creamy, watery, fruity
• kinetic words like smooth, soft, rough, and silky.

So next time you are asked to write product descriptions, ask yourself:

• What does it look like?
• What does it smell or taste like?
• What does it feel like?
• What does it sound like?

And you may be surprised how easily the description comes together.

What type of learner are you?

Sally Bagshaw is a web copywriter and content strategist from Australia. Check out her visually appealing website at www.snappysentences.com.

Related posts:

1. How to write an advertorial to sell a product

Many people think the government does all their own work. Surprise! They actually hire subcontractors to do most things.

And yes, they need help with copywriting.

This isn’t an area I know much about, but Arvid Westfelt does. So here are his sanity-saving tips for working with public sector clients.

***

Writing for the public sector can be lucrative. Public procurement accounts for a whopping 10 percent (or more) of a country’s economy — and some of that money is used to pay copywriters like you and me.

But public sector clients can be hard to work with. In fact, their seemingly odd and irrational behavior can drive you crazy. Here are a few tips for working with them while staying sane.

Be patient. Your writing assignment is often the last stop in a project that has taken your client months, or even years, to complete. They will show little understanding if you demand immediate feedback on your first draft. So be patient and don’t let their super-slow work rate frustrate you.

… But deliver fast. Within public organizations there are always a few people who are anything but patient. They have worked hard to push the project forward, despite slow colleagues. Now they expect you to deliver fast, to protect you from the bureaucracy. This is good news. If you deliver fast you will get paid fast.

Prepare to have your copy trashed. Your client might decide that they must rework your so-called “final version” before going public with it. Don’t take this personally, the reasons are often political and they probably still think your copy was great. Just make it clear to the client that you cannot take responsibility for how their revised copy delivers results.

Don’t fall victim to a committee. You should never accept writing by committee unless you enjoy the torture of handling conflicting comments, regression to the mean, and spiritless copy. Instead, ask the person in charge of the project to filter feedback for you. He or she knows the organization inside and out, whose comments really need to be considered, and how to handle any political conflicts much better than you.

Help your client sell. Your client may be reluctant to admit it, but they are selling something. Perhaps it’s a message to an interest group, hoping to get their support. Or it’s about what an important job they are doing, hoping to get more funding from an elected official.

Your job is to help your client sell. But this can be a delicate matter, so instead of talking about “selling,” talk about “immediate purpose” or “achieving goals.” Then explain why the headline is the most important element of any text, and why they need a clear call-to-action.

That’s it. Now you’re ready to take on any public sector client.

But before you do, please share your comments: What are your experiences with public sector clients, and what are your best tips for handling them?

Arvid Westfelt is a copywriter and public relations consultant who works with government agencies in Sweden without being the least bit crazy.

Related posts:

1. 15 little secrets your freelance clients won’t tell you
2. Would you like to write for Pro Copy Tips?
3. 7 freelance tricks to get new clients fast

Write envelope teaser copy? You mean copywriters have to actually write copy for envelopes?

Yes. I know many writers think the envelope is just a container for the earth-shattering letter they’ve written, but the envelope is arguably the most important element in any direct mail package.

Why? Because that’s the first thing people see when they open their mailbox. It’s the copy and appearance of the envelope that determines whether the envelope gets opened or trashed.

In case you missed it, here’s a refresher on the brutal reality of direct mail.

A big chunk of my work is writing direct mail, so I’ve had many years to think about the lowly envelope and the teaser copy that gets printed on it. Here are a few tips.

Get the look right. The envelope sets the tone for your entire direct mail package, so you must consider the impression it makes. Specifically, do you want it to look like advertising or a piece of regular mail?

If you want your piece to look like advertising, fine. Cover it with teaser copy and start selling right on the envelope. But sometimes people filter out “ad mail” with barely a glance. If that’s a concern, you might capture their  attention in a less direct way by using a “regular mail” format. These include:

• Personal Correspondence — such as letters and cards
• Financial Information — including bank statements, bills, and investment reports
• Publications — such as magazines and newsletters you’ve subscribed to
• Merchandise — all the things you’ve ordered or requested, such as books or samples

The idea is to make the piece look like an item they are more receptive to. It’s not about tricking people. It’s just about flying under their radar and giving yourself a few moments of their attention.

Follow headline rules. Teasers are basically headlines, so most of the same rules apply. Generate interest with a provocative statement. Provoke curiosity with a question headline or incomplete statement. State a problem on the envelope and suggest the solution is inside.

Here’s some additional information on writing headlines. If you want a little inspiration, look at these famous headlines.

Create tension. Don’t try to close. For most envelopes, you should create tension — an incomplete feeling, or a curiosity, that leads to opening the envelope. Inside, you’ll have more time and real estate to present your offer, tell your story, and close the deal.

Select your audience. Your reader needs to understand that your message is addressed specifically to him or her. Your reader should think, “This is for me. I might be interested in this.” Use key words that relate to your prospect’s interests or identity, such as “Exclusive offer for golfers inside.”

Use directive language. Even the most subtle commands can lead a person to do what you want. Urge your reader to open the envelope with simple copy such as “inside,” “see inside,” or “open immediately.” Combine this with a benefit to jumpstart your sales message: “FREE Recipes! Look inside …” or “How to pay $0 in taxes! See inside for details ….”

Consider involvement devices. Stickers, tokens, stamps, coins, scratch-offs, lift-up tabs, attached notes, seals, and other widgets can be used to good effect if there’s a budget for it, they can boost response enough to justify the added cost, and they fit logically with your message.

For example, magazine subscription offers sometimes use stickers on the envelope. There’s a “yes” and “no” sticker along with a teaser that says something like, “Will you accept 3 free issues of Country Home?” The person receiving this package must open the envelope and affix one of the stickers to the reply form.

Promise a benefit. The best teaser copy will state a clear benefit for your reader, but require opening the envelope, such as “Inside: A new way to cut your tax bill in just 5 minutes!” Just like a headline, a teaser must grab attention and lead the reader into the body copy. In this case, the body copy is everything inside the envelope.

Ask a question or offer a challenge. You could ask, for example, “How will the new tax law affect your retirement?” Then inside, you answer the question. You can challenge, “Are you part of the top 1% who qualifies for this free subscription?” Then inside, you explain the exclusiveness of the offer.

Make it look important. I don’t favor faux government mail or outright deceptive formats, but if your message is urgent or important, it should look that way. Use a rubber stamp effect with the words “Private and confidential.” Type the letter signer’s name above the return address. Use a craft colored envelope.

Stay thy hand. Sometimes the best teaser is no teaser at all.  Often plain, closed envelopes are more successful than envelopes covered with teaser copy because they reveal nothing. Your reader must open it to find out what it’s inside.

Some bosses or clients won’t like plain envelopes because they look like wasted space. They may think you’re being lazy and just don’t want to write a teaser. But I and many other experienced direct mail gurus have found that plain envelopes can work wonders. When in doubt, you can also suggest a test between a teaser envelope and a plain envelope.

Related posts:

1. An open letter to direct mail designers
2. Is your direct mail copy headed for the trash?
3. Rules schmules: 11 rebellious ways to electrify your copy

Back in 2007, I wrote a quick little article for Copyblogger about Yogi Berra. It was so successful, Brian Clark asked me to send more articles. I’ve been writing guest posts ever since.

But I figured my readers here would like to see this piece … that and I just don’t have time to write something new today.

Anyway, here it is. If you enjoy it, tweet it.

***

Lawrence Peter “Yogi” Berra is a fifteen-time All Star and three-time MVP. He played in 14 World Series games. But what is he famous for? Mixed up quotes.

Someone once asked him what he would do if he found a million dollars. Yogi said, “I’d find the fellow who lost it, and, if he was poor, I’d return it.”

When discussing a Steve McQueen movie, Yogi observed, “He must have made that before he died.”

Commenting on a pair of gloves, he said, “The only reason I need these gloves is ’cause of my hands.”

On the surface, Yogi seems confused. But perhaps he is trying to convey a deeper meaning for those who care to consider his words carefully. In fact, I think Yogi can teach us about the art of copywriting.

Let’s listen to what he has to say, and I’ll translate his “yogisms” into clear English.

Yogi: “This is like deja vu all over again.”

Translation: Study proven selling techniques. Every generation of writers thinks they are discovering selling for the first time. Many online writers think writing and selling began with the Web. But selling is based on human psychology and has been going on for thousands of years.

If you want to learn how to sell today, study the sales techniques of yesterday. To get started, read Tested Advertising Methods by John Caples and Scientific Advertising by Claude Hopkins.

Yogi: “If you don’t know where you are going, you will wind up somewhere else.”

Translation: Start with a goal. After all, how can you get someplace if you don’t know where you want to go? Your goal must be specific and measurable: 5,000 subscribers, 135 sales, 750 site hits per day, whatever. This tells you where you’re going and gives you a way to know when you’ve arrived.

Yogi: “Ninety percent of the game is half mental.”

Translation: Think before you act. You can easily spend half your time on strategy because it determines ninety percent of your results. Before writing headlines or body copy, collect your facts and study them.

Who is your audience? What do they want? What are they willing to pay? What are their fears and desires? What else have they purchased? I’ve created a copywriting questionnaire to collect the facts I need for my projects. You can use my questionnaire as a starting point or create your own.

Yogi: “You can’t think and hit at the same time.”

Translation: Don’t create and evaluate ideas simultaneously. Idea generation is a right brain activity. Evaluation is a left brain activity. One short circuits the other. Write lots of headlines and copy ideas first. Later, evaluate and choose the best.

Separating these two activities produces better results and often saves time. For tips effective brainstorming, see my 6-part series on creativity in direct marketing.

Yogi: “I wish I had an answer to that because I’m tired of answering that question.”

Translation: Provide plenty of solid information. People can distinguish between BS and good information. So don’t shovel a pile of one to cover up for a lack of the other. Have something to say. Say it clearly. Answer all questions. Be specific.

In general, long copy outsells short copy. That’s because unanswered questions raise doubts. And doubts kill sales.

Yogi: “If you can’t imitate him, don’t copy him.”

Translation: Don’t swipe copy. When you’re not sure how to write something, the temptation will be to copy someone else. This can range from light borrowing to outright plagiarism. Learning and applying what successful copywriters do is fine. But if you don’t know what you’re doing, you won’t solve any problems with theft.

Good copywriters are good because of hard work and experience, not theft.

Yogi: “A nickel ain’t worth a dime anymore.”

Translation: Build value before talking price. People don’t think about money logically. It’s all about “perceived value.” If I tell you an e-book will cost you $79, it sounds expensive. But if I tell you an e-book is a collection of information that has sold separately for over $5,000 or that the information is the result of 10 years of research, that $79 price tag suddenly sounds pretty good doesn’t it?

Yogi: “Why buy good luggage? You only use it when you travel.”

Translation: Don’t get distracted by design. Good design is important of course, but you don’t need “pretty” design. Highly artistic design discourages interaction with strong copy. High-end design is like expensive Christmas wrap that no one wants to tear open. In the direct marketing business we say, “ugly sells.”

Yogi: “It ain’t over till it’s over.”

Translation: Test, test, test. Results are the only facts that matter. You can guess and estimate and reason and predict, but you really don’t know anything until you run a measurable test. Everyone has an opinion about writing, but testing answers all questions and ends all debates.

Yogi: “You can observe a lot by watching.”

Translation: Study your stats. Copywriting isn’t really about writing. It’s about achieving a result: driving more Web traffic, signing up more subscribers, selling a product, promoting your services. Success is measured in numbers. Look at your Web stats, your subscriber trends, your sales, your service inquires, and other sources of data.

Yogi: “We’re lost but we’re making good time.”

Translation: Activity is not the same as progress. All your writing and selling and testing should teach you something. By learning what works and what doesn’t, you empower yourself to make adjustments and improve results. If you don’t learn, you’re simply driving around in circles.

Of course, Yogi also said, “I really didn’t say everything I said.” Maybe. But who cares?

Coming from anyone else, quotes like “Pair up in threes” or “I usually take a two-hour nap from one to four,” would seem stupid. Coming from Yogi, it’s sheer genius.

Related posts:

1. Copywriting apocalypse: 6 survival tips for when the shtf

Ask a roomful of copywriters to describe a brochure, sales letter, or web page, and most will give you a pretty good definition.

But ask about a magalog, and you’ll get a lot of blank stares.

In my Direct Marketing Glossary, I provide a simple definition:

Magalog — Direct mail sales format that looks like a magazine or catalog.

That’s accurate, but maybe not as helpful as it could be if you’re a copywriter and your boss or client asks you to write one.

So let’s take a look at an actual magalog sample and see if we can get a better idea about what it is. When you click that link, you’ll open a PDF in a separate window. Note: The order form and a few photos are missing because I couldn’t get a final sample. But you’ll get the idea.

This is a magalog I created for Rodale Organic Gardening selling a book with tips on, obviously, organic gardening.

Yes, I’m a gardener. I’m primarily interested in flowers, but I do have a few tomato plants in the corner of my back yard. Anyway …

The format has features common to magazines and catalogs, thus the name “magalog.” The name can be confusing, though, because while a catalog features a variety of products, magalogs usually offer just one product. So the “maga” part is right, but the “log” part is a bit off.

Magalogs generally have features that may include:

• The shape of a magazine, from full size down to “Reader’s Digest” size.
• Full-color printing.
• Page count of 16, 20, 24, 28, or 32 pages (printers create page sets in multiples of 4).
• Front and back cover with headlines, offers, and sometimes page numbers that tease the contents.
• Table of contents near the front.
• Letter inside the front cover explaining the offer.
• Lots and lots of copy on the remaining pages in the form of headlines, running text, sidebars, bullet lists, charts, photo captions, and so on.
• Repeated references to the offer and call to action on every page spread.
• Plenty of photos and illustrations, depending on the product.
• Order form or reply form near the back, or sometimes a bound-in reply card.

This format is ideal for “information” products, such as books and newsletters, and for products that require a lot of explanation, such as health supplements or financial services.

It’s a reader format, so it’s written and designed to be read in-depth or at least scanned carefully. It’s a common misconception that people don’t like to read these days. In fact, when a format like this is delivered to those who are interested in the product, they will often read voraciously.

And as any experienced copywriter knows, the more more you tell, the more you sell.

If you’re curious about the magalog format and want to delve a little deeper, my designer friend Mike Klassen (The Magalog Guy) has some great information on his website.

You also might want to check out Craig Huey’s site for information on magalogs, bookalogs, and three-dimensional packages.

Just as a final note, magalogs are wicked fun to write. And the pay is usually pretty good because they’re copy-driven formats. If you get a chance to write one, set aside plenty of time to do your research because you can’t get away with fluff. You must have a lot to say and every bit of it must be specific and interesting.

No related posts.

It’s happened to all of us.

You take on what seems to be a normal copywriting project. You plan to do your research, write the copy, polish it, then submit it for review.

You figure the most you’ll get is a few minor changes. And at first, that seems to be the way things play out.

Then the project takes a nasty turn.

Your copy deck comes back bleeding red ink. You make the revisions, submit it again, and it comes back still bloody.

And it happens again, and again, and again. Sometimes you get a lot of changes. Sometimes it’s just one or two. But you start to feel like you’ll never stop revising.

What’s going on? And what can you do about it?

First, don’t panic. Nightmare revisions are like stomach viruses. They’re painful, but they don’t happen too often. Take a deep breath and keep repeating to yourself, “This too shall pass.”

Second, consider some of the reasons this happens.

• Your client or boss doesn’t know what he or she wants.
• There’s miscommunication about the project requirements.
• A committee is editing your copy.
• The situation changes in the middle of the project.
• Your contact actually wants to write the copy.
• You’ve screwed up.

Third, you need to figure out what happened and deal with it.

If you’ve screwed up, you’ll find that out pretty quick. And the only thing you can do is have a direct, honest discussion to determine where you went wrong, then fix it. This isn’t fun, but it’s pretty straightforward.

The real challenge comes when it’s one or more of those other reasons.

If your client or boss is fickle or undecided, you have to act as a consultant and help guide the project. Usually this works. But truly fickle people can’t make and stick to decisions. The best you can do is explain why you’ve written the copy the way you have and why this is the best way to do it.

If there’s miscommunication, you need to zero in on when and why this happened and get the project back on track. Explain the requirements as you see them and ask if this is accurate. If not, have your client go over the requirements again.

If a committee is editing your copy, that’s not good because you’ll get conflicting comments. Ideally, you should ask whoever is in charge of the project to collect and filter these comments in one document so you’re getting feedback from just one source.

If the situation changes in the middle of the project, this is clearly not your fault, so you shouldn’t get any grief for it. However, if you’re a freelancer, this is the time to have a frank discussion about extra charges if the changes are extensive. Be professional but firm.

If your client or boss really wants to write the copy, or is an anal retentive type, well … you’re in a bit of a pickle. Almost nothing you do will be good enough. Ask for specific feedback, then make the changes nearly verbatim. A few flattering comments can help, such as “That’s a good edit” or “I really like that suggestion.”

A little organization and clear communication at the beginning of a project can ward off most situations like this. But sometimes, you can’t escape those “copywriting revisions gone wild” scenarios.

Just put your head down and plow through. Don’t get upset. Don’t say anything you’ll regret. And do your best to finish the project and move on.

One more thing, if you’re an employed copywriter, you’ll be paid for all the extra time you put in, so money isn’t an issue. But if you’re a freelancer, there comes a point when you have to enforce your contract limits (I limit revisions to 2 rounds) or add to your fee.

I once had a project some years ago that started as one mailing insert for $3,000 and ended up as 9 inserts for $11,000. Most of that went to the designer who put in endless hours creating the extra versions and making all sorts of silly changes.

The client was furious, but paid the bill. I then dropped him permanently and wouldn’t even take his calls. Sometimes you have a “life is too short” moment and need to cut people off for your own sanity.

What about you? Do you have a story about revisions gone wild? How did you handle it?

Related posts:

1. Copywriting apocalypse: 6 survival tips for when the shtf
2. How to write for public sector clients (without going crazy)

I studied magic when I was young. Mostly closeup magic, such as card tricks and slights of hand.

One thing I learned quickly. The magic only works if you can captivate your audience. You must grab and hold their attention from start to finish.

So it is with copywriting.

There are hundreds, maybe thousands, of tricks of the trade to grab and hold your audience. But here are seven for which I have a special fondness.

Let’s start with one of the most effective.

Start a sales letter with a one-sentence paragraph.

This is a technique I use all the time. That’s probably because I detest letters that start with a long, meandering paragraph that makes you tired just looking at it.

For example, if I’m going to start a letter with a story, I might write:

I simply couldn’t believe it.

That’s it. That’s the entire first paragraph. It’s short, easy-to-read, and creates curiosity about what I’m going to say next, which is exactly what you want when you’re telling a story.

Or if I’m writing a lead generation letter and I have a free sample I want people to request, I might start with:

I’d like to send you a $35 sampler of our fine cheeses. Is that okay with you?

Again, it’s short and easy-to-read, but in this case, it allows the letter to get right to the point. And that polite question prompts a mental “yes” that gets the letter started on a positive note.

End a letter page mid-sentence.

This is an oldie but goodie.

The idea is simple. If you have a letter that is several pages, you want to do whatever you can to get people to read and keep reading. And a page break is where many readers jump ship, especially if you have just completed a sentence before they turn the page.

However, people have an innate need for completeness. So if you break a sentence at the bottom of a page so that the reader must turn the page to finish it, you improve the odds that people will keep reading.

One caveat. Some business owners, marketing managers, and designers, hate this. They think it’s uncouth. However, this is just their urge for completeness talking.

Try the “running headline.”

This one I learned from Rene Gnam, one of the legends of direct marketing. And it works just like it sounds. It’s a headline that just keeps running, starting in the headline itself and continuing right through to the copy. Like this:

Overline:
If you’ve ever wondered how you too could earn a 6-figure income using the skills you already have and without taking a huge financial risk then …

Headline:
Ask for your FREE Business Start-Up Kit

Subhead:
… that shows you the secrets of starting and running a home-based business selling your personal services to businesses in your home town because…

Body Copy:
Today is the best time to start a small business. It’s more secure than a job. It allows you to earn more income. And it lets you set your own schedule so you’re no longer trapped by the 9-to-5 routine.

See how it works? One of the great challenges of copywriting is to keep people reading. And the running headline does this by never allowing the copy to come to a complete stop.

Throw an oddball word into a headline.

I love this one. It’s something I learned from some great headlines I’ve seen over the years. Here are a few examples:

Ohio man has 21-year tested formula to create multimillion dollar business from scratch, without bank loans, venture capitalists or selling stock.

Small Company’s New Golf Ball Flies Too Far; Could Obsolete Many Golf Courses.

Frustrated bartender develops incredible device to clean and disinfect your entire home…

Notice that in each headline there is at least one word you don’t expect, such as “Ohio,” “Obsolete,” or “Frustrated bartender.” These words catch your attention and add a touch of quirkiness that make the headlines more interesting and believable.

Consider how that last headline might read with ordinary words:

Here’s an incredible device to clean and disinfect your entire home.

Kinda boring, huh?

Include a “letter” on a postcard or flyer.

This is a little copywriting trick I started using many years ago. And there’s a story behind it.

I had a client who needed a direct mail package but refused to use one, swearing that they don’t work. Against my advice, he insisted that I create an oversized postcard. I knew a postcard was not the optimum solution, but I had no choice.

So I wrote the postcard, but incorporated elements from a typical direct mail package, including a short “letter” on the address side. To my delight, the card worked fairly well. Ever since, I’ve approached postcards and flyers as if they are pared down direct mail packages.

There’s nothing more to it than that. You start with a salutation, write a letter that is a few sentences long, and insert a signature and, sometimes, a P.S.

Write a “broadside” rather than a brochure.

I get the feeling that “broadside” is an old fogey term because I get blank stares almost every time I use it. Basically, a broadside is a printed piece of advertising with one primary selling surface.

Think of it like a poster, but in this context, it’s a poster you use in place of a brochure and it’s printed front and back, with all the main information on the front and supporting information on the back.

Why would I suggest using a broadside rather than a brochure? Because I think some brochures get too complicated, with all the folds and panels forcing you to chop up information into bits and pieces to fit the design.

With a broadside, you can write copy the same way you do with a print ad — headline, subheads, text, illustrations, sidebars, bullet lists, call to action, and so on. It writes easier. It reads easier. And in my opinion, it looks better too.

Another great advantage of the broadside is that it engages that urge for completeness I talked about previously.

With an ordinary brochure, information is neatly divided between the panels and every panel is complete. But with a broadside, you can’t read the headline or see the illustrations until you unfold it. So it encourages involvement.

Actually, I got the idea to start using broadsides many years ago when I got a mailing from Playboy. It included a small broadside showing a photo of an attractive woman, but with the piece folded so that you had to open it up to see the full photo.

Use a blank envelope.

There’s an old saying: “When the only tool you have is a hammer, you tend to see all your problems as nails.” Well, for copywriters, the temptation is to see all problems as an opportunity to sling words. But part of smart copywriting is knowing when to keep your hands off the keyboard.

Direct mail envelopes always present a challenge. You want the recipient to be interested enough to open it but you don’t want people to make a hasty decision about the contents and trash it. I’ve found that in many cases, the best answer is to forgo teasers and just leave the envelope blank.

Like the trick of ending a letter page mid-sentence, this trick drives some business owners batty. It strikes some as lazy or ugly, but tests show it often works. Why? Because a blank envelope conveys no information and forces the recipient to open it. This is half the battle in direct mail.

How do you know when to use a blank envelope? When you’re not sure about the match between your message and your audience. My rule for envelope teasers is, when in doubt leave it out. Plus, you can easily test teaser vs. blank.

Your turn.

Okay, I’ve shared some copywriting tricks with you. Now share some of yours with me. Show me your magic.

Related posts:

1. 9 copywriting “number tricks” to manipulate readers
2. AIDA and 14 secret copywriting formulas
3. 7 freelance tricks to get new clients fast

Fine restaurants in the Pacific Northwest had been serving cedar plank salmon for years. But Harry Aldrich and David Maddocks wanted to sell a home version.

Their idea was simple. They would manufacture a 6″ x 12″ piece of cedar wood. You put your salmon on the wood plank and put the wood plank into your home barbecue. Voilà! Cedar plank salmon.

Aldrich made an appointment with the seafood buyer for the Fred Meyer stores in Portland, Oregon. On the morning of his appointment, he bought a filet of salmon from the local Fred Meyer, went home, and cooked it on one of his cedar planks. Then he wrapped it in foil and rushed off to his meeting.

When he arrived, he didn’t bother with the usual sales patter. He simply placed the salmon on the buyer’s desk and handed him a fork. “I’m here to help you sell more salmon,” Aldrich said.

The buyer took a bite. “WOW! Where did you get this fish? It’s wonderful!” When Aldrich told him he bought the fish that very morning in a Fred Meyer store, the buyer couldn’t believe it.

Aldrich sat back and smiled as the buyer called other staff members to taste the fish. The reaction was unanimous. It tasted divine. Aldrich provided some facts and benefits, but the buyer was sold with the first taste.

Within a week, Harry Aldrich and David Maddocks had lucrative orders from more than 100 Fred Meyer stores. And they sold truckloads of those little cedar planks.

So what’s the lesson here?

The lesson is that one of the best ways to sell is to not sell at all — to simply shut up and give people a taste of what you’re selling.

That can be hard to do if you’ve spent years learning how to push and prod people into parting with their money. But if you’re selling a great product, why get in the way?

Harry Aldrich could have walked into that buyer’s office and lectured for hours about his little pieces of wood, but he knew it would come down to how that fish tasted. One bite was worth a million words.

2 obvious cedar plank selling techniques

There are two ways to give people a taste that you are probably familiar with: the Sample and the Free Trial.

Sample — A printer embosses a sample calendar with my business name, telling me I can order this very item for my clients. A generic perfume company offers two scented samples, one with an expensive name brand and one with their knockoff, challenging my wife to guess which is which. A textile company encloses a sample of a fireproof fabric and a match, daring business buyers to set the bit of cloth on fire.

When you’re selling something great, nothing will sell it as well as simply putting it directly into people’s hands.

But there’s a caveat: if the product is less than impressive — or if it takes people time to understand how good it really is — a sample could work against you. This is one reason I prefer not to send a sample for most of the subscription packages I create, particularly newsletters. I’m sorry to say that many are of low quality and simply can’t live up to the sales pitch.

By all means test a sample, but only for items that really sizzle.

Free Trial — This is, hands down, the world’s greatest offer. You can let prospects try a product for a time period: 10 days, 20 days, 30 days, whatever. Or you can offer a free issue, shipment, or some unit of sale.

The free trial can be, and often is, tied to a negative option option (which means a product will be delivered repeatedly until canceled).

Try 3 free issues of Wingnuts Today Magazine. If you like it, you’ll get a full year for just $14.95. If you don’t, just write “cancel” on the bill. But keep the first 3 free issues as our gift to you.

This is similar to sampling in that it lets people try a product before buying. However, it offers three big advantages: 1) You only offer a “sample” to those who ask, so your costs can be significantly lower. 2) You don’t risk unselling anyone if your product isn’t immediately impressive. 3) You can make the trial a negative option offer so that you have buyer inertia working for you on the back end. You make a sale automatically unless they go to the trouble of canceling.

The free trial is popular as a magazine offer, but it can be configured for just about anything: electronics, clubs, websites, books, software, office equipment, insurance, financial services, you name it. I’ve even tied it to a guarantee for a child sponsorship charity. If you haven’t tried a free trial, drop everything and do so immediately.

5 not-so-obvious cedar plank selling techniques

Samples and free trials aren’t the only way to give someone a taste of whatever you’re selling. The point is to bring products and prospects closer together. And you can do that to a lesser degree right in your copy.

Teaser Copy — You’ve seen this a thousand times. It’s one of today’s most popular and effective techniques, especially for publications and information products. I used it in a recent newsletter subscription package. At the top of the letter, I showed a picture of the newsletter with a list of teasers preceding the offer:

How to dress down and still look professional
9 steps for motivating a lazy coworker (without stress)
The secret to dealing with difficult customers
7 ways to be a take-charge employee

Book offers can do the same thing, giving the page number where the information can be found. But like all techniques, this one can be used just about anywhere you want to give people a sample or taste of the real thing, but without actually revealing any information.

Product Photos or Illustrations — It’s true that copy is king, but visuals pack a powerful wallop. They give people a sense of the quality and value of the thing you’re selling. For subscriptions and books, show the front cover. For software, include screen shots of the most powerful features. For industrial or high-tech equipment, provide cutaways with callouts describing prominent features.

For less visual offerings, such as financial services, create something to show and offer — special report, brochure, certificate, coupon, etc.

Simply ask yourself what likely buyers want to see and show it. And whenever possible, show people using the product, which is far more interesting and believable than static product shots.

Letter with a Story — While it’s often best to get down to your offer immediately, a good story can start a letter with a bang while allowing readers to experience a product second hand. I created a package recently to sell a home buying book, and the letter told a little story before giving the offer:

I could just kick myself!

A couple years ago, my wife and I bought a new home. After we moved in, our neighbor asked us over for coffee. What a shock!

He had the same house design, but it was full of all the extras we couldn’t afford — like a fireplace, panel doors, tile, oak cabinets. It was stunning.

When I asked how much it cost, he smiled. “Nothing. I knew how to get the extras added for free.” And it was so simple, I could have done it too. If I had only known the secret!

One rule I have for stories is that I usually present the offer at the top of the letter before the main letter begins. This orients the reader and gives the story a little breathing room.

Testimonials — In addition to adding credibility and supporting your claims, testimonials let people experience products through the eyes of satisfied customers. But don’t settle for vacuous verbiage such as “I love it!” The best testimonials are specific. A recent direct mail package I created for a laminating business featured two pages of testimonials like this:

Most of my signs I laminate with your 6 mil and 10 mil products, but for signs that we want to stay posted for long periods of time I use your adhesive-backed products. The adhesive backing is strong and reliable. These signs stay up as long as we want them to, even in our high traffic situations. – Randi Drew, MI

Success Stories — People can vicariously sample a product through the experiences of others. Success stories also clarify the use of the products, dramatize the benefits, and build instant credibility. To get the most from success stories, be specific and keep the tone factual. And when you’re selling to businesses, talk about well-known business names whenever possible.

I created a highly successful lead generation package for one of my high-tech Canadian clients and enclosed a broadside packed with success stories like this:

AT&T recently moved from a high-maintenance document management system to [product name], a Web-based system accessed through a standard Web browser. This has resulted in a savings of $4,406,322. They have reduced paper costs by 80%, lowered shipping costs by eliminating most overnight mailings, and saved 45 hours a week in duplication work. The bottom line is a 684% return on their investment.

Yet more techniques and the point of it all

There are endless ways to give people a taste of a product. You can also …

• Demonstrate claims with diagrams, charts, tables, or graphs.
• Make the offer tangible with a check or coupon.
• Make the order form look valuable and real with a certificate border.
• Use a see-through envelope to show off graphics inside.
• Enclose a quiz or checklist to get your reader thinking about the product or service.

Do you see the pattern here? If you said, “involvement,” move to the head of the class. The underlying principle of all cedar plank selling is to bring people closer to the product. And that means getting people involved.

Samples and free trials are the most direct means of doing this, but there are countless indirect ways to involve people. Your cedar plank selling savvy is only limited by your imagination.

Related posts:

1. Sell anything with this universal copywriting formula
2. How to write an advertorial to sell a product
3. AIDA and 14 secret copywriting formulas

When you write direct response copy, your goal is to provoke a response. That’s why it’s called direct response copy.

To do this you can’t be subtle or wishy-washy. You must tell people what to do.

This is what I call “command language.” Or in grammar class terms, you must use the imperative mood. The word “imperative” comes from the Latin imperare, meaning to command.

Why must you tell people what to do? Simple. Experience (and basic psychology) show that people are more likely to do something if you prompt them.

Is this considered rude? Some people think so. They are wrong.

Command language is not as harsh as it sounds. Consider the difference between a suggestive statement and an imperative statement:

Suggestive Statement: Those who wish to order the Widget 4000 should call 1-800-555-1234.

Imperative Statement: To order the Widget 4000, call 1-800-555-1234.

As you can see, the imperative statement is not the least bit rude. It simply speaks to you directly. The suggestive statement speaks indirectly.

Examples of command language:

Envelope Teaser: Look inside for your $50 Off coupon.

Ad Call to Action: Call today for your Free Trial!

Email Subscription Link: CLICK HERE to subscribe free.

Order Form: Complete and mail this order form within the next 10 days.

Highway Billboard: Exit here to eat at Joe’s Crab Shack!

TV Commercial: Order the amazing ShamWow right now!

Radio Spot: Go to BigMoney.com and ask for your free money making course.

See how it works?

Command language is simply a way to speak directly to people and tell them what you want them to do. It helps you be clear and improves your odds for getting the response you want.

But let’s see if I can channel R. Lee Ermey and serve up some real command language:

Listen up, maggot. I want you to tweet this post pronto. Tweet it now!

Related posts:

1. 3 “must-have” elements of direct response copywriting

The best book ever written on the art of effective writing is The Elements of Style by William Strunk, Jr. and E.B. White.

There is much good advice in this classic text, especially in the last 20 pages, titled “An Approach to Style.” Nowhere have I seen more helpful advice in so few words with such precision. This is why I always keep this book within reach.

I will leave it to you to explore this book on your own. But I would like to provide my own version of select advice from this essential reference. This applies to all writing, of course, but it is particularly important for advertising copy.

• Put the reader first. The purpose of writing is clear, sometimes persuasive, communication. It is not about you or your clever ideas. If you write with the goal of being impressive, you will distract the reader from the content. Good writing is like a store window. It should be clean and clear and provide an unobstructed view of the contents within.

• Organize your thoughts. You don’t need a detailed outline for most writing. But you do need to know what you want to say before you say it. If you’re comfortable with the sort of outline you learned in school, use it. Otherwise, simply jot down the important points you want to make and arrange them in the order you want to make them. Be sure to eliminate any ideas that are not directly related to these points.

• Use short paragraphs. Look at any newspaper and notice how short the paragraphs are. That’s done to make reading easier since our brains take in information better when that information is broken into small chunks. In ordinary writing, each paragraph develops one idea and includes many sentences. But in ad writing, the style is less formal and paragraphs may be as short as a single sentence or even a single word.

• Use short sentences. You should keep sentences short for the same reason you keep paragraphs short: they’re easier to read and understand. Each sentence should have one simple thought. More than that creates complexity and invites confusion.

• Use simple words. Since your purpose is to communicate and not impress, simple words work better than big ones. Write “get” instead of “procure.” Write “use” rather than “utilize.” Use the longer words only if your meaning is so specific that there is no simpler word to use.

• Be specific. Don’t write “Many doctors recommend Brand X.” Write “97% of doctors recommend Brand X.” Don’t write “The Big Widget is offered in many colors.” Write “The Big Widget comes in red, green, blue, and white.” Get to the point. Say what you mean. Use specific nouns.

• Write in a conversational style. There is a road sign often posted near construction sites that always irritates me. It reads, “Maintain present lane.” Why so formal? A more conversational style would be better: “Stay in your lane” or “Do not change lanes.” If you write as if you’re wearing a top hat and spats, you distance yourself from the reader and muddle the message. If you write like you talk, in a friendly and simple way, you will communicate more clearly and directly.

• Be clear. This may be the most important rule of all. Without clarity, your writing fails on every level. You must look at your writing with an objective eye. Consider what might be misunderstood and rewrite it. Find what is irrelevant and delete it. Notice what is missing and insert it.

There are many fine books on good writing. But I have yet to find one that surpasses The Elements of Style. When you find yourself mired in a thought that won’t resolve itself on paper, this book raps you on the head like a ball-peen hammer. It’s written with the same simplicity and clarity it advocates.

When writing fails, the most common causes are that the writer doesn’t have something to say, or the writer is too concerned with affecting a style, or both. Follow the suggestions here, and you will avoid these problems and many others. Plus you will find that your ad copy is more lively, more meaningful, and more profitable.

Related posts:

1. Rules schmules: 11 rebellious ways to electrify your copy
2. 3 “must-have” elements of direct response copywriting