 Great photo by Juliano Couto. We don’t know a company in the world that enjoys the prospect of exhibiting at a trade show. It’s often the epitome of stress.
But you can alleviate a good chunk of it. Hence this article. Grab the lowest-hanging fruit Sure, you’ll want to promote your presence at the upcoming show. That means creating ads and memes for social sites such as LinkedIn. But what if that were already done for you? Duh. It is, in most cases. The hosting company will typically create artwork that you can use for your own purposes. It’s in the “Exhibitor Kit” you got when you signed up, and/or it’s available for download on their website. These will be pre-created ads that say “Hey [Industry]! [Our company] will be at [Name of Trade Show] in [Location] on [Dates]! Look for us in Booth [Number]!” Granted, these won’t be stunning. Often, they’re stunningly generic. But they are there and you’re effectively getting them for free (with your paid entrance fee). So download ‘em, populate ‘em, and post ‘em. And if you belong to multiple LinkedIn groups—you do belong to multiple LinkedIn groups, don’t you?—be sure to post these things in every group you belong to, at regular intervals. That’s one little bit of pre-trade-show stress reduced. By the way, be sure to take advantage of all the stuff that the exhibiting venue gives you in advance. Submit all the information about your company to help populate, say, the mobile app that visitors will use to navigate the venue. You certainly don’t want to be left out of that. Update what you bring Is your booth or stand-up display skin still showing that outdated version of your company’s logo? Or artwork featuring people wearing Covid-era masks? Now’s the time to re-visit those materials, and update them as needed. This also applies to things like handouts, leaflets, flyers, brochures, and even business cards (you have them ready for that new sales rep you hired, right?). Note that all of the above-mentioned materials are fairly production-heavy, as in turnaround time. So prioritize those first. Get the input out the door and into the vendors’ hands, allowing ample time for both revisions and delays. Also consider the promotional items you’ll bring. We had a client who would prioritize what kinds of goodies to give away at their booth based on whether or not they would fit into a carry-on bag, LOL! It’s true. Whatever works for you. Speaking of updating your materials: You’ll want to tweak your slide deck, for whether you’ll be showing it at your booth, presenting in a conference room, or entertaining prospects in a hospitality suite. Fortunately, unlike those printed materials such as booth skins and brochures, you can update your slide deck with just a few clicks, no vendors or turnaround time required. This is similar to your website. You do have a big tile on your home page advertising your upcoming presence at the show, don’t you? Don’t reinvent the wheel Here’s a classic question: “How do we get more prospects to visit our booth and give us their contact info?” It’s a valid question. It’s also one that’s been brainstormed, and answered, a zillion times. So don’t reinvent that wheel. Use the latest iteration of Google, a.k.a. ChatGPT. Simply ask it that exact question. It will effectively search the entire internet, and give you a list of suggestions, from giveaways and contests to customized swag bags. Speaking of not reinventing the wheel: We had a client employ a little desktop carnival-wheel game, wherein visitors could spin for prizes. Again: Ask ChatGPT: What are some good prizes? Obvious answers are discounts on your services, loss-leader free services, Amazon gift cards, “Spin Again” slots, and so on. Speaking of Amazon: these little wheels are easily found there. They’re inexpensive. And they’re made of dry-erase/white-board material, so they’re easy to customize—and re-customize, say, when you run out of a certain prize. And be sure to pre-write the “Congratulations!” emails you’ll be sending to all the prize winners, since you’ll have their email addresses—and will have input them into your CRM. For the love of QR codes How can you not love QR codes? They apply to almost everything we’d mentioned in this article. Put them on your flyers. On your swag. Business cards. Everywhere. Link them to the most appropriate page on your website—which, in this case, might be a special landing page for trade-show attendees, replete with some kind of promotion/savings for visiting that page (and providing their contact info, booking a call, or other similar call-to-action). Everything we’d mentioned above is stuff that you can, and should, do well in advance. The sooner you do it, the more pre-show stress you alleviate. Need help? Contact us. We’d love to pitch in.
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 Great photo by Samson Katt. Every hear of a “paper edit”? Probably not.
Let’s dive, quickly, into the topic you tuned in for: Making the easiest marketing videos you’ll likely ever make. It gets better. They’ll also be among the least expensive to produce. And they’ll also be among the most powerful. Salivating yet? Let’s get started. Recycling is good for the planet… and your business A client of ours recently recently pitched a new prospect via a Zoom call. Specifically, they “ran the demo” of the company’s offerings, which included both a PowerPoint slide deck and a demo of specific SaaS (software-as-a-service) offerings. The call went great. Our client closed the deal. What could be better than that? How about closing lots of deals? From the exact same call. You’re smart. You’re already way ahead of us here. Why do we even try to build any suspense? LOL! The key: Our client recorded the Zoom call. With the prospect’s permission, of course. Important point: the recording did not show the prospect on screen. Only our client, who was presenting. That recording is worth its weight in gold. It’s a verbatim capture of the best possible sales pitch, with our client hitting it out of the park. The entire video ran about 20 minutes. And in it, our client—the one who was running the demo—was making killer point after killer point, with each one nicely illustrated by either a powerful preso slide or quick SaaS demo. We watched this video, and realized that it was marketing gold, being served to us on a platter. The paper edit “Paper edit” is an old-school video editing term, which surprisingly isn’t so old-school or even outdated. It’s exactly what we created in this case. And it’s what you can do, too. (You know you’ve got some good recorded Zoom pitches by now. And if you don’t, you know you’re just itching to record your next one.) Here’s the task. Take that 20 minutes of raw footage, and convert it into as many little McNugget-sized videos as you can. They should run anywhere from about ten to 30 seconds each. So you just need to park the video in a window on one side of your screen, and a blank Word doc on the other. Watch the video and look for the organic “start” and “end” points of each little mini-video. Write down the time codes for each. Then come up with a title for that specific mini video. Lather, rinse, repeat, and you’ll have a “paper edit” which you can hand off, along with the big raw-footage file, to your favorite/least-expensive video editor. You will have done the heavy lifting; at this point, your editor simply needs to follow your instructions. They’ll need to create a master “set of bookends” first: This will be the opening title card, underlying music bed, and tail-end/call-to-action (CTA) title card. Once you approve those, you’re off to the races. Your editor will be able to crank these out like a machine. In our case, the 20 minutes of raw footage yielded more than 20 different short videos. They were so simple to create, that we didn’t even need our usual high-end editor for this assignment. Rather, we handed off the footage and the paper-edit doc to our client’s digital marketing firm; they were able to make these little vids for us—and put them to use, too, since they were able to easily fold them into the account’s digital marketing strategy. Sure, we continue to make slick, highly-produced videos for this same client. But they’re more expensive and less frequent. These little videos are awesome for keeping the world informed and teased, while easily building up your social presence on platforms like LinkedIn, simultaneously boosting the brand and impressions. Need help with an assignment like this, or others? Contact us. We’d be delighted to help.  Great photo by Andrea Piacquadio Here at Copel Communications, we’re proud to have a diverse clientele. Sometimes it’s so diverse, it can be challenging—to the point where successfully addressing these challenges generates some teachable moments. Hence, this article.
We recently worked on a social-campaign assignment for a very big global brand; while we can’t name them in this article, you certainly know who they are. To be more specific (about the assignment, and not the brand, LOL! we need to be delicate here), we were brought on by one of this brand’s multiple ad agencies. This agency specializes in addressing a certain ethnic market in the U.S. and overseas. And their specialization derives from the fact that they, themselves, belong to this same ethnic group. (It’s really hard to tell this story while protecting identities!) So. They handed us some creative, which they had developed, and the Big Brand had approved, for a social campaign touting one of the brand’s products. And the creative—the visuals, and the ideas—were really thoughtful and inspired. The campaign consisted of different little multi-panel vignettes that would tell the story of a certain person, depicted in them. It went something like this: Imagine there are five panels that will go by, almost like a little slide-show of memes. The first four establish this likeable person—whom the target audience can easily relate to—and their situation. Their situation, mind you, is aspirational-yet-flawed. They aim high, but there are constraints on their dreams. Guess where this is going? Of course. Panel Five introduces Big Brand’s Great Product, which, you guessed it, organically solves all of Hero’s problems in one fell swoop. We’ve over-simplified this a bit here, but you get the gist. Lost in translation Now why on earth, you may well be wondering, was Copel Communications brought in for this assignment? It certainly seems like it’s a wonderful campaign, neatly tied up with a bow. Well, almost. The problem here—and it was a big one—was the copy. Remember: Each “slide” in each of the campaign’s hero stories was effectively a meme: A photo with a quote, title, or caption. And while the ideas for all of these were great, the original copy had been written in Ethnic Audience’s Homeland Language, i.e., not English. Oh. So the Google-translated-to-English copy was clunky and needed help. On its surface, this seems like an easy, straightforward, and fun assignment. It was neither of the former, and hardly the latter. Why? Because, as easily as we could see where each of these panels (and there were tons of them, effectively five for each of the numerous “heroes” selected) needed to go, that didn’t make our client’s English any better. Example: One of the panels showed a young barista, working in a coffee shop. He’s our hero. Remember: aspirational-yet-flawed. So the input caption we were handed read: My job is hard. Gee. My job is hard. He’s a barista, right? So we came up with this version: Life can be a grind. Cute, huh? And so we got big pats on the back from the client, and we were happily endorsing a check five minutes later. Yeah right. Here’s the problem: The client didn’t understand “Life can be a grind.” So they kicked it back to us, instructing us to make it more like “My job is hard.” And, by extension, our job was hard! There’s not a huge lesson we can simply spout from this story. There were a zillion revisions and, not shockingly, for one of the “hero stories,” after they rejected Version 10, we used their suggestions for Version 11 to gently suggest that they re-visit Version 1 and, you guessed it, that was the one that flew. The takeaway? Assignments like this boil down to patience, and trust. The skill is just a subset. Need help with an outside-English-to-English assignment? Contact us. We’d be happy to help!  Great photo by Alena Darmel. You’d never tell any client that they’re your favorite. If you say that to one of them, you have to say it to all of them.
But c’mon. You know that you have a favorite client. We all do. It’s human nature. It’s also a tacit business proposition: How do you “clone” that client? Wouldn’t you love more of them? (And by extension, fewer of the, um, less-favorite ones?) In this article, we’ll review what makes a “clone-able” client. And then we’ll get to the crux of the matter: Doing the actual cloning. Nobody’s perfect You can certainly describe an “ideal” client. And odds are, your favorite client won’t check all of the boxes. That’s fine. We live in the real world. And it’s hardly a compromise to want to clone your favorite client. But what makes them your favorite? Why are they hovering up near the “Ideal” space? It’s easy to rattle off a bunch of positive attributes of this favorite client of yours:
Wouldn’t that list resonate with you? (Have other attributes we’d missed? Add them to the comments below.) So. How do you go about cloning such a wonderful client? This is a multi-step process—or multi-pronged approach—and while you may know some of the checklist items we’re about to discuss, you probably don’t know them all. The feeding trough Where is this client of yours turning, daily, for information? Are there various groups they belong to? Trade shows they attend? Websites they visit? Answer as many of these as you can for your favorite client, and then “feed from the same trough.” Example: Look up which LinkedIn groups your client belongs to. Then join them. You’ll see the same conversations they’re seeing; you’ll see which posts they like, which articles they read, and which influencers they follow. When you actively join in and comment on a forum like this, LinkedIn rewards you by making your comments visible to more people. In fact, if you can get a vigorous conversation going, LinkedIn will really tell the world about you. We could call this “The Kardashian Effect.” So as your street cred grows, you’ll get exposed to more people like your favorite client. You can then connect with them, comment on stuff they’re posting… and then, politely, ask for a quick chat or Zoom, just to say hello. If you really do this, as a person, and not like some LinkedIn bot that automatically spits out five pages of “personal” messages as soon as you click “Connect” (hate that, don’t you?), you increase your odds of making a real connection. Shake the trees Ask yourself: How did this client find you in the first place? Think through every step of that process—because it contained numerous steps—and then replicate it. Was it a certain person who had referred you? Then reach out to that person. Was it at, say, a certain event? Be sure to attend the next one. On paper, this is a very simple exercise in reverse-engineering. In the real world, few people take the time, or make the effort, to do it. Which is a shame, because there’s a lot of doppelganger favorite clients out there, just waiting for you to discover them. Lubricate the revolving door We have a wonderful client that, well, has a high churn rate when it comes to their employees. And what do we do? We stay in touch with those employees when they move on. LinkedIn is great for this. We can’t tell you how many of them have gone on to become new clients of ours, as they’ve brought us along to their new gigs. And they invariably become very good clients, since our original client did such a nice job of vetting these people for us in the first place! These are just a few tips. There are others. For example, we’ve not even touched upon the entire (huge) topic of marketing outreach to this ultra-targeted audience… and that’s really our specialty here at Copel Communications. Want to learn more? Contact us. We’d be delighted to hear from you.  Great photo by Andrea Piacquadio A client of ours recently wanted us to rewrite their team members’ LinkedIn bios, and then their website bios, in that order.
Would you do the same thing? Should you? In that order? In this article, we’ll look at some of the too-easy pitfalls of team bio-writing, and also give you some good, quick, useful tips that can help you look great, and drive more business. Who’s on first? When that client asked us to start with the LinkedIn bios, we suggested otherwise. In this instance, it was better to start with the company’s own website. That’s because it was more free-form, less rigid than LinkedIn. We could do whatever we wanted. We could steal from it, for LinkedIn, later. And that’s what we did. For your business, you want your and your team’s bios to effectively accomplish two things: 1) You want to establish that person’s credibility. Do they know their stuff? Are they the absolute go-to subject matter expert for their field? 2) You want to make them come across as likable. (Not that they aren’t already.) The goal here is for the reader to think, “If I’m gonna be working with this company for the next several months, I’d be happy to work with this person. They seem cool.” Teaser alert: You can actually address both of these goals in order. But we’ll get to that in a minute. Person to person As you surely know, some website bios are written in first person (“I’m in charge of Finance”), whereas others are written in third person (“Jill is in charge of Finance”). Which should you use? (By the way, “Which should you use?” is in second person. But we digress.) Consider the arguments for each:
So this seems easy, right? “First person” carries the day. Not so fast. Think of Goal 1 from above: Establish Credibility. Here, you’ll want to blitz the reader with name-dropping and awards and accolades, so there’s absolutely no ambiguity about how technically superior this person is. Uh-oh. If you write that in first person, it comes across as conceited. Really conceited: “I have won awards for my work with major enterprises worldwide such as Coca-Cola and Amazon, where clients always told me how great I am.” Uggh. Don’t go there. And so, third person it is. More often than not: “Jill has won numerous client-elected awards for her stellar performance working with major enterprises worldwide such as Coca-Cola and Amazon.” The second act As we’d hinted above, the bio follows a two-act structure, in the order of the two goals ("Expertise," and "Fun to Work With"). So after you’ve wowed your reader with all the awards and name-dropping, you can get into just a few interesting, quirky details which are nice setups for conversation-starters when a client first engages you. We recently read the bio of a client we were going to work with, and it noted that she had previously served in an exotic location overseas, so we were curious to ask her about that. Stuck for ideas—or for getting consistent responses from your team—for this Act II assignment? We once helped an ad agency write their team bios, and we worked up a questionnaire which was circulated to the entire team. The initial questions were predictable:
But then, to button it, we made the last question a fill-in-the-blank:
They loved it. The answers were great and off-the-wall, and there was hardly any work required to edit them down to make them website-palatable. Indeed, the ad agency kept the “Questionnaire” format on their website—a good example of when First Person actually is the better way to go. Tying it all up Some basic pointers:
That said, leaders’ bios should generally be longer than team members’ bios. Twice as long is completely fine.
And that’s about it. It sounds simple, but it’s really more straightforward than easy. The more succinct the bio, the better—and the more challenging. Need help? Contact us. We’ve helped lots of teams with tons of bios. And we’d be delighted to help you, too.  Great photo by Pixabay. We have a client that does a lot of blogging—like a lot of our clients.
And, like a lot of our clients, they hire us to write—make that ghost-write—a lot of those blogs. Also, like a lot of our clients, they also use an SEO firm to create other, SEO-focused blogs for them. A two-pronged approach. So far, so good. But what are “production blogs”? And why does this client hate them so much? Production blogs vs. thought-leadership blogs First off, you can’t really Google “production blogs.” It’s a term we made up. Production blogs can be defined as blogs that are written for a business, using pre-existing web-based materials for their background research, and used primarily to drive up SEO (search-engine optimization) numbers, i.e., search results on Google. You, as a consumer, likely encounter these blogs all the time. That’s your clue that they work: You searched for some information on Google, and up popped one of these articles in the list of hits. Again, so far, so good. But then—and consider how common and familiar this is—once you click on the article, you’re quickly disappointed. It sure contains your exact question or query, probably about a dozen times, in different phrasing, but doesn’t give you much hard information that you’d craved. It feels very regurgitated. It reads like a mashup of other online articles, 1) carefully reworded to avoid copyright/plagiarism conflicts, and 2) like it was written by someone who’s, well, not the greatest writer. Trust your Spidey Sense on this one. You’re exactly right on all counts. Whatever site that blog resided on, just boosted its SEO numbers when you clicked to it. Did you feel satisfied? Did you get the info you needed? Naah. Not really. Importantly—sometimes hugely importantly—you didn’t get one whiff of a professional, well-informed opinion. Which segues, nicely, to the other kind of blogs: Thought-leadership blogs Just like “production blogs,” this is a term that we here at Copel Communications invented. But the name—“thought-leadership blogs”—gives away what they are. In stark contrast to production blogs, these are not written by scouring a lot of pre-existing material online. To the contrary, they’re written by interviewing a really well-informed SME or subject-matter expert. We enjoy writing these. We enjoy doing the interviews. In the best ones, our subjects get pretty adamant, even riled. That’s what we want. We want them to rely on their professional opinion, expertise, and years of experience to dismantle incorrect and ill-informed preconceived notions, and set the record straight. It's arguably an uphill battle: The search-structured web is effectively an echo chamber, where bad information gets reused and elevated to the status of “trusted source,” when it’s actually anything but. So our same SME client, who rages against the search machine, is justifiably mad at the production blogs they’re forced to proofread prior to publication. Why? Lots of reasons. For one, they’re rife with factual errors. While they assiduously don’t break any copyright laws, they do proliferate bad information that’s breeding online. This client of ours also operates in a highly-regulated industry, so the information found by the writer simply might not apply, because what’s legal and permissible in one U.S. state, isn’t in our client’s state. Also, production blogs are generally just hard to read. They have all the appeal of a Wikipedia entry. No hook, no drama, no story, no voice, no personality, no iconoclasm, no payoff. We know. We’re also tasked with proofing these things, and they take us forever. And we’re paid to read them! Two for one Knowing all this, why does our client still do both? For a very good reason. This is a basic tenet of marketing known as the media mix. You can’t achieve everything with either one of these blogs; using both is prudent and smart. The production blogs are better at finding people who are simply Googling at the top of the sales funnel. The thought-leadership blogs are better at converting visitors into believers—and thus prospects—deeper down in the funnel. It’s like mixing paid and earned media: a basic, smart mix. Our client recently asked us, somewhat rhetorically, “How come we can proofread your blogs in about two minutes, with almost no changes, while these other blogs take us hours and tons of aggravating work?” The answer is simple. As we’d noted above, we base our thought-leadership blogs off the SME interviews we conduct, where we take detailed, careful notes. So the SME’s knowledge is reflected in the final product. Credit where it’s due. If you need production blogs, there are plenty of good sources out there. If you need thought-leadership blogs, the field rapidly narrows. Contact us and let us help you advance your business’ mission—and passion—to the world.  Great photo by Pixabay. Y’know, it’s funny. A voiceover is truly an old-school skill: it dates back to the birth of radio about 100 years ago. And radio itself, while still around, isn’t the front-and-center medium it once was.
But what about voiceovers? Have they suffered the same fate? Au contraire. They’ve not only survived. They’ve flourished. They’ve exploded. The internet—specifically things like B2B and B2C videos on YouTube and Vimeo, cross-posted to platforms like LinkedIn and Facebook—have made them ubiquitous. Essential. And the way they’re done has changed, too. But we’ll get into that in a minute. The point of this article is to help you get more out of each voiceover you buy, so that your target audience buys more stuff from you. Basic premise, but packed with nuances. The new reality As we’d noted above, online videos are everywhere. And pretty much all of them have a voiceover—if not for the entire thing, then definitely portions of it. Even if (and this is common) it’s a little video that will scroll by, with the sound off, and big “closed captions” rolling past, Karaoke-style, you’ll still have that voiceover track, which you can hear, the instant you click the “un-mute” icon. Voiceovers are important. Sure, they tell the story. They explain what’s going on. But, done right, they do much more than that. In a subtle way, they represent, and sell, your brand. Is that voice authoritative? Seductive? Approachable? Intelligent? Likable? Or what if it’s the opposite? There’s a lot at stake here. Which leads to casting. Which leads to the new modality of simply producing voiceovers. The new modality Here at Copel Communications, we’ve been directing (and of course writing) voiceovers for decades. Back in the day, we’d do them at sound studios and/or radio stations, and everything was in person. We’d show up. The voiceover artist would show up. The engineer would show up. We’d bring the script, printed on paper, in triplicate, so each party could have a copy. And then we’d sit in the control room while the V.O. artist sat, on the other side of the soundproof glass, in the booth. We could see each other. (Although we could only hear each other via headphones and microphones.) And seeing is a huge asset when recording a V.O. As the producer, we could see how the artist was performing. They could see our reactions: good, bad, and indifferent. And there was instant feedback. After a take, we’d rate and review it. We might request a quick punch-in fix. And we could get everyone out of the studio pretty quickly, most of the time, with a great product in-hand. Fast-forward to the 21st century. No one works like that anymore... at least for the scope and budget of projects such as those we’re discussing here. For the business videos you’re producing, you’ll be posting them online—and you’ll be casting and producing them online, too. The downside is you lose the eye-contact and the immediacy. But pretty much everything else is better:
About that last point. Decades ago, we’d pay about $150 for a voiceover session in a studio. Today, we’re getting the same product (actually a better product, since it’s digital and not analog) for about a third of that. And that’s after decades of inflation, so the real cost was higher then... or less, now, depending on how you look at it. There are lots of places to find V.O. talent. There’s Upwork. We’ve had good results with Fiverr. Which gets back to that first bullet: “Infinitely more talent.” We recently wanted a Morgan Freeman-style voice, and searched on “Morgan Freeman-style voice,” and found lots of them. And many of them were quite good! Just like that! It was a real gig-economy moment: This obscure Morgan Freeman sound-alike was just sitting there, when, bang!, he got work from us. Everyone was happy. Direct without directing We won’t get into the intricacies of casting here; that goes beyond the scope of this article. So we’ll assume you’ve found the talent that you like and need. But they might be halfway across the country... or the world. (We use lots of British voices, for example.) So how do you direct them if you can’t be in the control room while they’re in the booth? The answer is the script. That might sound like a no-brainer, but it’s how you craft the script that matters. Sure, you’ve got your “V.O.” in the “Audio” column of the script. (The other column is “Video.”) But you need to help that announcer along. Consider this V.O. passage (which we’re making up) for a corporate video aimed at banking executives:
That’s tricky! There are a few ways a V.O. artist could read this... but only one that you want. Let’s make it a little more artist-friendly:
“Brackets” signify “directions to the artist.” Pretty obvious. As fixed, above, you’ll now know that your artist won’t say “S-O-X” or “Ock”, which wouldn’t help you. Also note the addition of that hugely important hyphen. “Issue adverse action letters” became “Issue adverse-action letters.” So “adverse-action” will get read [“red,” not “reed,” get it?] as if it were just one word (technically a compound adjective), and just guide that artist along. Help them with things like numbers, too. Don’t write “1,600.” Choose what you want: either “one-thousand six-hundred” or “16-hundred.” Make it clear. Here’s another trick: Toss some intriguing direction, for the artist, on the overall character and tonality, at the top of the script. Make it challenging and fun for them; they’ll love you for it... and deliver a better read. We recently penned a script which included a voice for a robot character who was “nerdy yet likeable” with a touch of “efficient British butler” to him. We got a dynamite read out of our artist for that one. We work on this kind of stuff all the time (heck, we even served as preliminary judge for the Clio Awards for “U.S. Radio”). Need help? We’d love to come to the rescue. Contact us today.  Sending out business-building emails is a tricky business. To you, it’s “outreach.” To the rest of the world, it’s “spam.”
We’ve weighed in on this topic before, but in this article, we’re going to drill down to the proper way to craft a three-touch email marketing sequence, along with some caveats to help you along the way. Let’s start with the caveats. Hidden pitfalls We recently worked on a campaign, for a client of ours, targeting banking executives. The offer, which our client crafted, was compelling: It was a way to avoid fraud, and better comply with anti-fraud and anti-money-laundering compliance regulations. That’s really valuable. What banking exec wouldn’t be interested in at least learning about it? But then we saw the campaign’s open-rates. That is, how many recipients actually opened the email, based on its subject line? The rates were disappointing. They fell to about half of what they’d been for previous, similar campaigns. What was going wrong? We got the answer from the in-house email expert at our client. It wasn’t that the offer wasn’t compelling. It wasn’t that the audience had suddenly changed. It was the ISP. Huh? Yup. Turns out that the email hosting service of many of these banking execs is trained to filter out emails that have words like “fraud” in them. It flags them as spam, and shunts them away from the intended recipients’ email in-boxes. They never even saw ‘em. Hence the low open-rates. This is kind of a head-scratcher to us. Why would you want to “shield” a banking exec from something that helps them prevent fraud—one of their basic duties? Even crazier, if you (the ISP) are trying to stop spam, why would you filter out words like “fraud”? There is not one piece of spam out there that says “This is spam,” verbatim, in it. Similarly, an actual fraudulent email (Nigerian prince scam, anyone?) does not include the word "fraud” anywhere in it. That’s insane. It’s a crazy bit of filtering, a box that was checked by someone who shouldn’t have checked it. You can complain all you want, but that’s the way of the world. Live and learn. Don’t use the word “fraud” in your outbound emails, even if your legitimate offer will help to prevent it! Use phrasing like “boost compliance” or “adhere to government regulations” instead. (Sometimes the rationale behind the spam filtering is easier to grasp. We once wrote copy for men’s slim wallets, touting that they’re easier on your pocket than a fat one. But, oops, can’t use the word “fat” in Facebook ads. Facebook sees that word, in any context, and assumes it’s part of some body-shaming message, which is forbidden on the platform. Again, live and learn.) The three-touch sequence isn’t a sequence With the caveats out of the way, let’s talk about the three-touch email sequence, and the title of this article. Why, indeed, is the third time the charm? A three-touch email marketing campaign is defined as one in which the sender creates, and sends, a sequence of targeted marketing emails to intended recipients over a pre-set interval of time. That’s the case for this example. So let’s say you’re targeting executives. You have what you consider a killer offer. Then the “sequence” goes something like this:
See what’s happening—or rather not happening—here? There is no sequence to the sequence. We’ve said this before, and we’ll say it again: Never flatter yourself into believing that your recipient will remember Email Number 1 when they receive Email Number 2. You can’t pick up, message-wise, where the last one left off. Still, each touch—each mention of your name/your offer in that recipient’s in-box—makes a tiny dent in their perception. Which is why the third time is, so often, the charm. Our clients will get strong open rates on every one of the three-touch emails we create for them. But they’ll get the actual response from a prospect on Email Number 3. It just plays out that way. Call it “softening the beachhead.” Call it “sophisticated reverse psychology.” Call it whatever you like, because it’s a pattern we’ve seen time and again. The bottom line is, well, the bottom line. If you’re crafting email marketing campaigns—and have gotten this far in this specific article—you’re hungry for results that pay. Let us help. Contact us today.  We see it a lot. Younger people enter the creative-services workforce, and are invariably disappointed when they don’t get to express their full genius on every assignment. Look at their killer portfolio! Look at the awards they won in school! What gives with the real world?
In this article, we’re going to focus in on some of the (seemingly) most creative-crushing assignments, with an eye toward helping your client succeed. And our parenthetical comment above is spot-on, because if you believe there’s no room for creativity in that assignment, you’ve already painted yourself into a corner. SEO... as creative? We worked on an assignment recently, featuring a slew of social ads aimed at executives in a particular vertical; let’s say it’s “logistics.” And we were told—it was a mandatory—that we had to feature the word “logistics” in the headline. Mind you, these are social ads. As we’ve written before, they’re a lot like freeway billboards. In that there’s hardly any room for copy. You get a few words, max. And now you’re telling me that I have to use the word “logistics” in the headline? It’s enough to frustrate any creative pro. But there’s a sound method to this madness. And there is most certainly a creative solution to this challenge. First things first. If this ad, on a cluttered web page, is targeting logistics executives, it needs to cut the clutter of all the other ads that don't. Yes, you can show a picture of a long-haul tractor-trailer (and likely should), but nothing says "logistics” like, well, “logistics.” It gets worse. Or, depending on your perspective, better. We were also told—another mandatory—to get the word “exec” in there. We’re targeting logistics executives, right? Execs are a special, elite group. Again, think about it. You’ve got a genuine logistics exec, looking at some cluttered web page. He or she sees the word “Logistics” and takes notice. But there are tons of offerings in the world of logistics; it’s like manufacturing or insurance or any other huge vertical. But then you add the word “exec” to the ad, and it’s undeniably focused. This is what we might call “the SEO approach to creative.” It’s using the kinds of words that the audience would search on, to populate creative elements such as the headline. Which might read something like this: Logistic Execs: Boost LTL Throughput Now! Exciting, huh? Well, maybe not to you. And therein lies the rub. This is what so many of the new-to-the-workforce creatives fail to grasp. You’re not trying to score points for cleverness. You’re trying to help your client make money. Simple as that. Deeper geekery Notice the mention of “LTL” in that made-up headline above? It stands for “less-than-truckload,” which is an acronym that’s very specific to logistics. So while you would never use an obscure, and undefined, acronym in a headline to the general public, here, in this case, it slices through the clutter even more sharply. It tells that logistics exec, “We know what you’re up against.” It tells them that you speak their language, both literally and figuratively. Sounds crazy, but little ads like this work. We’ve jammed in some intense, industry-specific jargon, and whereas it would be death at, say a cocktail party, it works quite well when you need to cut through the clutter toward a very focused and time-constrained audience. So where on earth is the room for creativity here? If you’re in the tightly-constrained realm of a social ad, think of your remaining elements, besides the headline:
Not much, but it’s there. What if you did something like this: Logistic Execs: Boost LTL Throughput Now! ABC Enterprises Helps You Keep On Trucking [Button:] Accelerate Your Performance And what if there’s a totally outrageous, grabber image, such as a tractor-trailer... with a rocket engine and wings? The heat from the engine could even be scorching the call-to-action button. Well whaddya know. All of your college portfolio work paid off after all. The important thing—the discipline—is to know when and where to add the creative “spice” to an assignment, vs. letting the “untouched ingredient” stand on its own merit. The qualifier here, as always, is what the end-client/prospect/customer will respond to. Viewed through that lens, the decisions get much clearer. Need help with these kinds of assignments? Contact us. We’d love to answer the call.  Hello, all you creatives out there! Here’s a question for you: When—if ever—can you have fun with a serious topic?
Are there lines you shouldn’t cross? How blurry are they? In this article, we’d like to touch on that topic. Spoiler alert: Yes you can, and sometimes you should. A financial inspiration This article was inspired by a recent assignment of ours. We need to obscure some of the details here, but the gist of it was this: We were writing social ads for a client that were directed toward banking executives. Specifically, we were tasked with promoting a new technology that allowed these banking executives to better deal with all of the onerous regulatory and compliance burdens of the Sarbanes-Oxley Act, which is known in the banking world simply as “SOX.” Maybe we were just feeling punchy. But we needed a can-you-relate grabber headline. And it needed to be super short, because social ads, although tiny, have a ton in common with massive freeway billboards (we wrote a nice article on this topic, if you’d like to check it out). Anyway, before we knew it, we’d written down: SOX SUX. Dumb, right? But it still makes us laugh. Before we knew it, the ad got laid out, with that headline (among others; this was a campaign), and went live. Importantly, 1) our client approved it, and 2) it pulled. Which begs the question: Did we overstep our bounds? Define the line We’re probably not going to reel in any Clio awards for “SOX SUX.” (We ought to know: We served as a preliminary judge of the Clio’s, back in the day.) But the fact that it passed muster, both with our client and our client’s prospects, answers the question above. Indeed, not only was the line-crossing possible, it was advisable. Think of the competition. Honestly: Do you think anyone else was approaching banking execs with humor like that? In other words, crossing the line cuts through the clutter. That said, you need to be careful. We once worked on a campaign for a cancer center, and there’s simply no humor to be found, or used, there. But banking regulations? Logistics snafus? Finance? Absolutely. There are tons of B2B verticals that suffer from a lack of humor, freedom, and creativity. There are two components at play here: The first is shock value. If no one else is using silly jokes, puns, or gallows humor, then your creative will stand out. But beware: Shock value simply for shock value’s sake, can blow up in your face. It can be offensive. Which leads to the second component: That’s what we might call “intimate expertise.” We didn’t say “Don’t let your bank tank.” That’s just fatuous. Callous. And it takes the low road: it leads with a negative. But “SOX SUX” comes with a wink and a nod: “We understand the burdens of Sarbanes-Oxley. We know how much you dread it. Tacit implication: We have a solution to get you past all this, uh, suckiness.” If you can convey all that in just six letters, you’ve succeeded. Reward from the risk As a creative, it’s your job to be daring. To push boundaries. As we like to put it to our clients, we’ll always be stretching, and going for the edge. Because we can always pull it back, or dial it down, as needed. If we don’t go there in the first place, we’re not delivering the value that our clients pay us for. (Conversely, it’s impossible to “crank up the creativity” on something dull, so you can’t go in the opposite direction. You can always dial it down; you can never dial it up.) And of course the creative biz is a world of volume, of rejections, of second, third, and umpteenth passes. A hundred visions and revisions before the taking of toast and tea, as T.S. Eliot would say. But if you land a good one—or several—that cut through the clutter, that make you laugh in spite of yourself, and that, importantly, help your clients drive in new business, it’s sooo worth the risk. Have a story to share? Need help with a creative assignment on your plate? Contact us. We’d love to hear from you. |