Marketing Archives - Page 16 of 29 - Otis Regrets... or not

Boingo and the Netflix effect

I don’t have a lot of love for Netflix these days. But at least they are upfront about wanting to put their hand in my pocket. A much more insidious example of corporate greed showed up in my email this week with the subject line: Exciting Account Info, Boingo in the Sky, and a Celebration in Your Honor.

I signed up for Boingo wireless a couple of years ago when you had to pay through the nose for airport wireless access. I noticed that Boingo was often one of the carriers. I signed up for a month on a free trial, then when I tried to cancel at the end of the month they quickly lowered the $29.95 monthly fee to $9.95. I’ve been a subscriber ever since, though I’ve been wondering why since more and more airports offer free wireless now and, when they don’t, the Boingo network less frequently shows up as an option.

So, okay, I could use some exciting account news, and here’s what it is: Boingo wants me to download a new version of their app and, as soon as they do, my account will be tied to a specific wireless device. You get two devices so my laptop and Droid are ok, but if I want to add a tablet or occasionally connect on another computer, that’s another $5 a month per device.

That’s not exciting news, that’s a price increase, and I’ve hopefully avoided it for now by not downloading this Trojan horse of a new app (“It only takes a minute!”) However, Boingo promises “lots of surprises between now and the end of the year” and I would not be surprised if one of those is the disabling of the current software.

Just die, Borders

Remember Borders? Several months ago they were a nationwide chain of bookstores where you could browse, cozy up with a cup of coffee, and discover a new author while listening to music or even a live reading.

My own Borders was one of the first scheduled for closing, and they’ve been gone for maybe four months. Like a zombie or a hand from the grave, my Borders Rewards membership kept reminding me of new offers which were no longer relevant until finally I clicked the CAN-SPAM link and killed it.

But today the corpse is risen anew. Some special set of rules allows the liquidators to send my email address a message that says:

Borders Rewards Perks has partnered with OO.com to ensure that you have access to your account, including your WOWPoints…

Your WOWPoints will be honored. They will be moved to OO.com over the next 30 days. Once there, you can use them just as you do now.

Um, no. I had a relationship with Borders, but I am not interested in you new guys whoever you are. Why is it so difficult to take a national brand with huge loyalty and do something for the customers which is also profitable when things go bad?

Just askin….

Dear Netflix: nut up or shut up!

Like many Netflix subscribers, I had a notice of a 60% subscription price increase slipped under my door last week in the form of an impersonal email that states the bare facts with zero attempt to placate me or to win me over if I am considering canceling after the increase. (The email concludes with “We realize you have many choices for home entertainment, and we thank you for your business. As always, if you have questions, please feel free to call us at 1-888-357-1516.” Hardly the best choice for a closing or conversion message.)

This increase is not for traditional Netflix subscribers who get a disk in the mail; it’s for the potentially far greater universe of prospects who came in via streaming. I signed up for streaming Netflix after my family got a Roku last holiday season. We quickly discovered that the “20,000 streaming movies” was actually not that big a number when looking for a specific title so we added the option of getting a disk when we can’t get instant satisfaction for $2 more a month. Nothing about our behavior, therefore, suggests we will be good candidates for conversion to a standard $7.99 a month disk in the mail plan (that’s the basis of the cost increase) and we are indeed cancelling our non-streaming subscription.

But meanwhile, Netflix is paring its streaming offerings presumably so it can get more disk orders. I know this because my teenager wanted to watch Zombieland for the umpteenth time last night and it’s gone! Not fair, Netflix! This is the company that always contacts me to ask about the video quality of the streaming show I watched or the delivery date of my DVD and a back door change in our agreement definitely doesn’t cut it. It feels like Netflix has made a corporate decision to move away from streaming and toward DVD delivery when everything we read about broadband consumption patterns should point them in the opposite direction.

Maybe, with negotiations going on behind the scenes with entertainment content providers, the streaming model isn’t making sense financially with unlimited viewings for one price. I would be willing to pay a small upcharge (NOT the full cost of renting a single DVD in the mall) for streaming access to new releases. I would also consider a “premium” level (let’s say $12.99 a month which is $5 more than the current streaming plan) for unlimited access for many more titles. But please, Netflix, don’t ask me to change my viewing habits to accommodate your new business model… even if it’s the old business model for many of your customers. I don’t think I’m alone in this. When I want to see it, I want it now… waiting for a disk in the mail seems forever.

Should marketers give away their “secret sauce”?

Most marketers I have met have a terror of giving away too much information in their lead generation contacts. As a result they are constantly trying to get me to write “info copy” which is really a thinly disguised sales pitch. They’re afraid that once the reader has their perspective on their business or industry, the marketer becomes irrelevant and the customer will just go out and do it themselves.

Not going to happen. Properly written information will overwhelm and impress the reader. Rather than taking the nuggets and running with them, they will think, “these people sure are smart. Why would I want to do this myself, when I can just hire them?”

The secret sauce of my youth — Brockles... the secret sauce of my youth.

Think about how hard it is to get anybody to pay attention to anything these days. People poring over what is after all marketing copy is a very nice problem to have. In writing my BMA talk, as usual I went to the web and found all kinds of useful research and insight which people are giving away for free such as this great post on how to put on a webinar (something else I will be talking about). Maybe they don’t care about money, maybe they have some kind of hidden agenda. But they can’t all be going out of business because they are giving information away instead of selling it.

Nobody wants to give away their “secret sauce”…. or do they? Sure the recipe should remain a secret. But as far as free samples, the more the better.

How to look at a copywriter’s samples

This article is written for the people who hire and critique copywriters… the hallowed “client”.

You’ve got an ad, website or direct mail package to be written and you’ve got a slew of samples, emails and letters from copywriters in response to your LinkedIn or Craigslist post. How do you separate the real candidates from the posers? Here are a few tips:

1. Realize that the samples in front of you are the best work you’re ever going to see from these writers. If they care about the job at all, they will have hand-selected an assortment of work for your eyes. If a writer doesn’t show you anything that knocks your socks off, pass.

2. Look for work that’s a good fit with your own project. Legitimate experience with your major competitor is ideal. At the very least, the copywriter should provide work that has a parallel to your own project, pointed out by the writer. For example, an insurance writer can probably make the transition to selling financial products since both are about security and money. And a writer in one highly regulated industry, such as banking, can probably make the transition to another, such as pharma. Once again, if the copywriter doesn’t provide anything that is a match then they are disinterested or else they truly have no relevant experience.

3. Look for work that shows how they can handle a project from beginning to end. Copywriting isn’t just about a great headline or “I wish I’d thought of that” entry point. It’s also unfolding a product’s benefits in a clear and methodical way. It’s about a call to action that is specific and motivating. The best samples to demonstrate this are a classic “long form” direct mail package or else a digital campaign that includes landing pages. In these examples you’re not looking for brilliance, but follow-through.

4. Look for a broad fit to your corporate personality. If you’re a stolid B-to-B marketer and all the writer can show you is edgy gen-y work, there’s something wrong. Not with them, but with the matchup. If they had more relevant examples, you’d be seeing them.

5. Evaluate the query letter or email as its own example of copywriting. Selling is selling, and if they don’t make a persuasive argument that is relevant to your needs then you should be suspicious. And especially if their are typos, grammatical errors or misspellings in the document, pass.

6. After you’ve reviewed the samples, if they are in physical vs. electronic form, RETURN THEM TO THE WRITER. This holds true even if it’s a stack of color copies; the writer spent time and money to prepare them. Keep in mind that there is a special circle in hell, right next to Leona Helmsley’s dog Trouble, reserved for marketing managers who “misplace” a copywriter’s last sample of a prized work.

Regional differences, revisited

In an earlier post I talked about regional differences as demonstrated by the way people talk about food on social media. Here is another example. These two gas station price signs are directly opposite each other on Route 50 in Ballston Spa NY, just north of the Highway 67 intersection. Hess is selling regular for $3.729 a gallon and Sunoco for $3.859 a gallon. Down the road past the stoplight, an independent has regular for $3.709. Seven miles up the road in Saratoga, the going rate is $3.899.

You wouldn’t see this where I moved from in California, where gas stations in the same area are universally with in a penny or two of each other. If one station undercuts another by as much as 10 cents, cars would line up around the block. But in upstate New York, you get gas where you get gas, and a few cents a gallon isn’t going to change that.

The conventional wisdom is that urban areas, where most copywriters live, are more open to new experiences while exurban folks are more cautious and conservative. After two years in Saratoga I’m inclined to say this is true. Certainly it’s true that business is conducted more on the basis of whom you know than what you can do. In California we had lots of brilliant tech folks who were a disaster at social interaction. They wouldn’t do well here.

Regional differences are why, as copywriters, we often pull back from the edge a bit in the edginess of our copy and are sure to stress that even though our product or service is “new” it’s also “proven” with absolutely no negatives for trying it. When every customer counts, you can’t afford to ignore the conservatives in Saratoga County or the flyover states even though they may not be the coolest kids on the block.

The end of “edgy”

One of the side benefits of tough economic times is that fewer clients are asking for “edgy” work. Edgy we’ll define as “different for the sake of different” but it is also has an element of cool. It’s a special request of marketing managers who want to be able to show around their work and get the compliment, “ooh, that’s edgy!”

So what’s the problem with edgy? Good creative grows from a solid understanding of product and audience and a calculated plan to put the two together, which may or may not produce something never seen before. If you’re selling an insurance product it’s not likely that it will meet the edgy test without being irrelevant and ridiculous. But maybe you could sell a new movie in an edgy way… or maybe not.

In the great article on Pixar in the May 16 issue of the New Yorker, John Lassiter remembers the first time he pitched the movie “Toy Story” to executives at Disney. “They said, first, ‘You absolutely can’t have “Toy” in the title, because no teenager or young adult will come see the movie.’ And second, we had to make the characters ‘edgy.’” Can you imagine Woody as a bleary has-been with a Nixonian 5 o’clock shadow? That’s Disney’s “edgy” version which was ultimately tanked in favor of the thoroughly traditional cowboy who is now part of movie iconography.

Anthony Lane, the writer of the Pixar article, advises dramatists to “avoid anyone who talks about edgy, apart from a practicing mountaineer.” Same goes for those mini-dramas we call advertising. Most creative briefs have a section about the voice of the copy, and it’s fine to request a fresh and unexpected tone and the copywriter will do their best as long as it doesn’t compromise the core marketing message. But please, no “edgy”.

How to read a copywriter’s work

This article is written not for copywriters, but for the people who hire and critique them.

You’ve hired a copywriter to write your project, and here they come back at you with their first round, hopefully on time and with no budget alarms going off. Now it’s your job to give honest, specific critique that will enable them to go to the next draft. Here are a few tips. (This article was originally about long-form direct mail copy, but I believe it applies to web pages and even banners and short ads.)

1. Remember that you only get one impression to have a first impression. So, clear your desk and your head and close your door if you have one. If the copywriter is sitting anxiously in your office, ask them to go away.

Now, start by giving the copy a quick scan from the perspective of the intended reader. (If you don’t know who this prospective reader is, you better find out before you read the copy.) Let it sell you. If it leaves you flat, you may have a problem. You’ll analyze why as you continue.

Then go back and read it again, several times, applying a different test each time. (I am borrowing these filters from either Bob Bly or Ed McLean, thank you gentlemen. It is even more productive to come up with your own filters depending on your specific knowledge of your business.)

Is it logical? Is there a premise that is established up front and then supported throughout? Are there logic errors, things that don’t make sense, which can distract the reader?

Is it emotionally consistent? The emotional pitch could be high, low, ironic, satiric… but it needs to stay the same from beginning to end.

Is it clear what is being sold or presented? Is the product or service presented in such a way that the reader grasps its big benefits quickly then understands additional benefits as they read on for more details?

Is it clear what you want me, the reader, to do? What is the call to action?

2. Now make your notes for the writer. Remember that CRITIQUE and CORRECT are not the same thing. If you take a pencil and start aggressively marking up the copy, the writer will step back…they’re no longer fully invested in the project because you’ve taken over part of their role.

It’s far better to describe what you are trying to accomplish on a high level, then leave it to the writer to interpret and execute. Instead of telling them what you want, tell them what you want to happen. It’s their job to find a way to execute.

As usual, David Ogilvy has something brilliant to say on this point: “Don’t keep a dog and bark yourself.”

3. Now it’s time to meet with the writer—in person, on the phone, or by email. Be careful. Even very experienced and thick-skinned writers get irritated when they feel a client isn’t giving their many hours of hard work the respect which is due.

It’s never a bad thing to compliment a writer on a job well done—but mean it when you say it. Don’t start with faint praise that turns into a slashing attack. If you’re up to it, you can use a positive statement to transition to a critical one: “I really liked the way you described the benefits of the whole life plan. But the term life description just didn’t seem to have the same level of enthusiasm.”

As you get into specifics, refer to the creative brief. (You did give the writer a brief, right?) That way you can use an intermediary to smooth the conversation. It’s not you that says their copy is off (if it is), rather it just doesn’t follow the creative brief. A good writer will not only follow the brief but will be ready to defend sections of the copy where the brief was difficult to follow, and that is helpful.

And most important, never say “I don’t like the copy” or anything negative without supporting your statement with specific examples and logic and without being able to offer equally specific solutions for problems you bring up. It’s lazy, emotionally manipulative and unproductive to dislike the copy on personal grounds and it’s not likely to get you a better product in the next round.

4. Agree on what happens next. As a copywriter, I quite often have my first rounds accepted with minor changes because I have been diligent about executing a clearly executed assignment. Don’t be afraid to just say, “I like it and here’s your check.”

But if you’re asking for rewrites be very specific about what you want and why, and follow it up in writing with an email to the writer. And be sure to include the next schedule milestone.

PC Connection’s makeover… not making it with me

I’ve spent many a dollar over the years with PC Connection so when I got an email today offering great prices on an Adobe Creative Suite upgrade from “PC Connection Express” I was curious. Is this somebody hijacking the brand? If not, how can I take advantage of the savings… upgrades “starting at $289” for a product with a retail well over $1000?

Wanting to know more, I clicked through from the email and there is no ordering information at all, just a bunch of corporate info on Creative Suite. I did get a pop-up inviting me to chat but I declined, thinking that would be a roundabout way to get basic information that should be right here on the page.

Why should I have to choose? You do it for me.

Then, checking out the brandjacking possibility, I googled PC Connection and got this screen. Turns out they have rebranded themselves and now I have to choose which PC connection I go to. Why is this a good idea, making the customer do the work?

Sad thing is, I probably do want to buy this upgrade. I just purchased a new laptop from these guys within the past 90 days with no problem. Hope their fulfillment is in better shape than their marketing department.

How to build your copywriting “book”

The “book” is your portfolio of completed copywriting assignments, presented with a narrative from you about what the objective was for each project, how you approached it as a creative problem, and how the result performed in the marketplace. It’s hard to get copy assignments without showing a nice fat book… but without the assignments, where do the components of the book come from? Here are a few ideas to break the logjam:

1. Seek out “meat and potatoes” assignments as a vacation fill-in or rewrite person for a good agency, to learn the basics and prove yourself. You’re not trying to win awards here, just demonstrate you know the nuts and bolts and can follow creative direction intelligently.

2. Do spec (unpaid) work for SELECTED clients. It’s okay to do spec work for an agency, not okay for a small business that will look at it as free creative. (If they didn’t pay for it, they may not value it.)

3. Look for projects that pay very little but will end up as a great sample for your book. A local business or creative boutique marketer may offer these.

4. It’s not a total waste to answer help wanted ads or craigslist posts, but you should treat these mainly as a way to hone your skills writing sales letters. Many ads are placed by HR departments that don’t have the skills to evaluate a copywriter’s ability. In other cases the ad is placed by the creative department, but then they’re overwhelmed with response and have no systematic way to evaluate them.

5. A better idea: target a specific agency, company or even creative director and then create a letter writing campaign aimed at that target specifically. A classic example of this is Lee Clow’s “hire the hairy” campaign that got him a job as creative director of Chiat-Day. (Clow has a beard.)

6. Create a “master piece” like a medieval craftsman: pick a product and then write the best promotion you can to sell it. Knock yourself out, since no client is going to edit your work and nobody will complain about potential production costs.

7. Do pro bono work for a community group or nonprofit. In addition to a sample for your book, you’ll get points for supporting a worthy cause.