Dear bookshops: I’m sorry

I feel guilty whenever I visit a bookshop these days.

At first glance it’s not obvious why. I read three books a week, buy several more. And as an indie author I depend on people buying books for an increasing chunk of my income.

But in the last four years, precisely 0 of those purchases have been on paper.

On the lookout for solid marketing? Email Chris.I’m a Kindle fanatic and a minimalist; I’ve given away half a thousand print books over the last year or two and my shelfspace at home doesn’t even stretch to a metre. That combo is killer for any bookshop.

And I’m sorry.

From the bright detailing of the big chains to the musty corners of the independents that still dot Charing Cross Road, I enjoy them all. Browsing, visiting, wasting time. But unless there’s a coffee shop, I no longer have any reason to buy anything in them. I am driving them out of business.

But just as no teenager today can believe we used to carry around music machines that stored a single album, I simply can’t bring myself to buy the print edition of any book. Books take up too much space. How and why could I possibly justify purchasing a kilogram of dead tree, when a thin grey slate that weighs next to nothing can store two thousand of them?

Like I said, I’m sorry, bookshops.

But I’ll make you a promise or two. It’s not much, but it’ll help. Maybe.

  • I promise I won’t come in to paw the books before buying them on Kindle. That’s theft of resource, plain and simple. If I want to read the blurbs, I’ll do it at Amazon.
  • I promise I’ll buy a coffee. If there’s a tea stand out back, I’ll stick around and buy a beverage, maybe a croissant or something. Even if I’m not hungry. I owe you that much.
  • And I promise I’ll do anything short of outright charity to keep you around. When you run Writers’ Nights, I’ll support them. When I want to rent space, I’ll look at you first.

Let’s face it, your business model is bleeding out, and unless you’re a City Lights or a Shakespeare & Co you haven’t got long. But our streets are richer for having you in them. And I really, really want you to stay.

This head’s note to her pupils has gone viral. And it’s wrong.

That’s it, I’ve snapped. Could everyone raving about this head’s letter to her pupils PLEASE try and See The World As It Really Is?

Barrowford letter

Here’s why. The school has numerous advantages in educational terms. Its cachement is wealthier and more homogenous than average (easier to teach). And it has a large intake (resources per child go further). If any school should be at the top of its game, this one should.

Yet it’s rated merely “good” by Ofsted. (Which means “bad” in the nuanced argot of inspections.) Its exam results are BELOW AVERAGE.

Despite having every advantage in the book, this school is not succeeding.

Could that be the real reason its head sends letters like this… to deflect attention from what really matters?

Aside from being poorly written (packed with bad grammar and overlong paragraphs) the letter’s takeaway is that “education doesn’t matter much”. All you have to do is let it all hang out and be yourself. No suggestion you might be able to change yourself for the better. To take control of your own existence and be self-actualised. Where’s the ambition? The drive? The urge to succeed, the celebration of success? Nowhere.

“You’re perfect as you are” might be a nice thing to say to kids, but it’s poor prep for life.

See the World as it Really Is, people. This school sucks, and it’s because of the namby-pamby fuzzy-thinking liberal-leftie attitudes displayed by this so-called teacher.

 

Adding a second dimension: the Nolan Chart

500px-Nolan-chart.svgThe Nolan chart gives form to what happened in the EU elections… and why those you’d think of as right of centre, like me, aren’t happy with its swing rightwards.

Politics isn’t a single Left-Right axis; it’s a boston box, with both small-state and big-state variants of Left and Right. I’m a hardcore libertarian (NOT “liberal”), at the extreme top-right: favouring high personal freedom and high economic freedom. On the left side, the bottom left would be socialism and the top left traditional liberalism.

The UK’s big three parties each occupy one quadrant: Lib Dems top left, Cons in the top right, and Labour bottom left. As nominally centrist parties, each is in the approx centre of its quadrant, with Ed Miliband’s lot maybe slightly further southwest and David Cameron a bit further northeast.

UKIP (and the other far-right parties that won on Sunday) often call themselves libertarian, but are actually pretty low on personal freedoms. (As we’d find out if they exercised real power.) So all belong at the bottom right, many of them at the extreme southeast corner.

Seen in this context, Nigel Farage’s success is easy to understand: he simply saw the open marketspace and moved into it. Politics, like life, can often be understood by the dynamics of marketing.

This mailing to a cold list got 19% response. Here’s how I did it.

It might not look much. But this one-page letter to a cold list (part of my 100 Days, 100 Grand project) returned an incredible response rate… between ten and twenty times what a snail mail campaign usually delivers. (And hundreds of times what you’d expect from anything beginning with “e-“.)

One director called it “the best piece of direct mail [he'd] received since starting the agency“.

As an exercise in navel-gazing, here’s the text of the letter… with my notes on why I think it worked.

Chris's letter to a self-built database of inbound marketing agencies.

The letter itself. Note extreme mailmerge fields.

Opening para: making friends

Nobody writes proper letters any more, do they? The kind you open without a click. Scribble notes in the margins. And delete with a crumple. When you do get a proper letter, you notice it.

Ah, the kick-off. It breaks most of today’s rules: no upfront offer, no call-to-action. It’s a preamble.

But… it interests you, doesn’t it? A straightforward truth: you don’t get personal letters any more. A real person wrote this, thinks the reader. And I’m guessing most of them got past this para without aiming it into the circular file. Takeout: before establishing your offer, first establish you’re human.

Body copy: setting the scene

I noticed «COMPANY». Because you're sky-high in SEO for "«CUSTOMPARA1»". (As I am for "London copywriter".) I'm writing in the hope you'll notice me. Because your "«CUSTOMPARA2»" approach syncs with what I do: custom copy for content marketers.

This para’s where I swing in the big guns: extreme personalisation in the mailmerge fields. (With a parenthetical riff on my own SEO rank.)

«CUSTOMPARA1» is the search phrase I used to build my list: the first few pages of Google results are, by definition, hot prospects. While «CUSTOMPARA2» is the agency’s (they were all agencies) approach to its work lifted from its website. (It’s usually a punchy portmanteau term like attract-convert-repeat.) So we’ve established rapport: I know what they do, and I took some effort to find out.

Callout 1

Add chrisdoescontent.com to your list of freelancers...

Now here’s the first part of the offer, centred and highlighted as if with a yellow pen. It only took two paras to get here, and it jumps off the page – most importantly, it tells the reader what they’ve got to do. Something a surprising number of mailings forget.

The support act…

Why use me? Because I've done a lot of what you want. My stuff combines fresh ideas (I'm an indie novelist on the side) with experience gained at top-10 ad agencies (200+ campaigns and 1000+ articles across Asia and Europe.) All backstopped by research methods from a top-1% MBA that keep the insights solid. That's why clients use me for years and stay friends forever. More at chrisdoescontent.com/what.

Once your reader’s interested you need to give them a reason to stick around, so I added the backup. Hard numbers and facts are what work here; your readers are getting down to business, and the touchy-feeliness of the intro is over. (Well, almost.) Yes, I do what it says on the tin. Now questions are forming, it’s also time for a link.

… with backing dancers

While I haven't worked for clients on your roster, like «CUSTOMPARA3» or «CUSTOMPARA4», I have created campaigns and programmes for big names like «CUSTOMPARA5». I'm mostly B2B, in tech /media /telecoms, finance, healthcare, automotive and aerospace. Know-how that may be of use to you: hit the ground running and all that...

Into the mailmerge forest again. The data here took ages to extract. <<3>> and <<4>> are the names of actual clients on the prospect’s roster. There’s no fast way to build metadata like this; until The Semantic Web hits its stride (at least another decade) trawling through websites by hand is the only option.

And <<CUSTOMPARA5>> is a handpicked selection of my clients – clients which match as closely as possible the sectors the prospect operates in. I’m moving in closer with every sentence.

...but it's pricey, right? Nope. Try £450 for a 1,000wd+ research paper or consideration content, less for snacks and snippets elsewhere on the nurturing pathway. Or £225 for a 500wd listicle with metadata. And turnaround times that can drop to 24 hours if your deadline's hot.

It’s time for go in for the kill. Content marketing – the point of this mailing – is price-sensitive, and while I try not to compete on price, it’s a reality of this space. I simply worked out what I need to work up a killer article (half a day min) and priced it in.

You can lean on me for teasers, pages, posts, blogs... Buzzfeeds, featurettes, infographics, and newsletters... microsites and Case Studies and White Papers. The whole kit and caboodle, with metas, tags and links whomped up and ready to go. I've worked on platforms from WordPress to HubSpot to Uberflip to SlideShare, in formats as diverse as PPC, ePub, and XML. I'm also conversant with 12 CMSs, HTML5 and CSS. See chrisdoescontent.com/portfolio for the exhibit.

Notice I used a couple of buzzwords in the previous para – listicle, metadata – to show I’ve got a grip on social and content marketing? They were warmups.

In this most verbose paragraph in the letter, I list the applications and formats I think they work with, and will expect me to know. It’s filler, but solid filler.

Callout 2

...and get your first content marketing brief answered for FREE

Again highlighted, the second of the 2 callouts communicates my offer without anyone needing to read the body copy. (As any good piece of marketing should.)

Closing para and call-to-action

But there's one thing you don't get: hassle. Contact me with a brief; I'll write you a sample you can use at no cost. I'm on 07876 635340 or chris@chrisworth.com; current availability's about 9 days/mth. Let's talk.

It’s time to sign off. All the boxes are ticked here: offer front and centre, with a note that subtly communicates further proofs (I’m available, but not too available, ‘cos that’d mean I’m no good.) Hammered home with a homily.

Do I need to mention the letter was personally signed? My wrist’s still sore.

Footer block

PS. You can download a PDF of this letter from chrisdoescontent.com/?attachment_id=«xxxx». (All right, proper letters don't work for everything. Let me know if you went all TL;DR on me.)

Every sales letter needs a PS. This one adds a neat trick: I uploaded each individual letter (not the template) to my site, and the reader can download the exact letter he received by clicking a unique URL. I finish the way all sales letters should: with a chuckle that gets the reader’s head nodding.

How could it be improved?

envelopesBeing self-critical is a good trait for any copywriter, so here’s what I think I did wrong.

First, I should have put the offer in the postscript somehow. People still scan down to a PS before they get into the body copy. And using the too long; didn’t read euphemism was borderline; while agency bosses are web-savvy, they don’t always speak geek.

Second, the transition between the opening and second paras doesn’t quite hit the mark. I talk about letters being noticed, yet when “I notice them” it’s not because I got a letter. Small stuff, but it’s lapses like these that make tears in a piece of copy’s overall fabric.

Third, the backup in the middle. Lengthwise it works, but I’m divided as to its density. Too much jargon? Am I sounding clever rather than intelligent? On the edge.

But ultimately, this letter worked for me, so you be your own judge. And if you’d like me to do some content marketing for you – or just write you a sales letter or two – contact me here.

New Gabe Rayner short story, “Worked Out”, up at Amazon

workedout_thumbA short story featuring my business consultant action hero, Gabe Rayner, is up at Amazon.com and Amazon.co.uk for your Kindle.

In “Worked Out“, Rayner’s in the mood for some R&R after a conference in Miami. The miniskirted nymphet beckoning him over gives him some ideas, but they might not be what you’re expecting…

… and if you promise not to tell, the ebook’s also FREE as a download in .mobi (Kindle) or .epub (iBooks) format.

Kahnemann’s Prospect Theory: a summary in one graphic

Human behaviour isn’t that hard to understand if you do the work. And my favourite theory of it involves Cognitive Biases: the core emotionally-led behaviours that drive the decisions we actually make, rather than the decisions that might be more rational.

Cognitive Biases are rooted in Kahneman and Tversky’s Prospect Theory, which was crucial to my MBA thesis some years back. (Nice of him to summarise his life’s work AFTER I’d ploughed through the academic literature.) Basically, it’s an add-on to Expected Utility Theory (where we take risks based on the outcome we expect) that draws in Cognitive Biases (the emotional factors that govern what we actually do.)

While the concepts aren’t hard, there are around a hundred Cognitive Biases recognised in human psychology, making it hard to summarise with any rigour. But there’s a great diagram in Thinking, Fast and Slow that brings its three key points together.

prospect-theory

First, note the y-axis, “Psychological value”. That takes account of the human factor Expected Utility doesn’t: £500 has different perceived value to a pauper and a millionaire, so setting this axis for your audience – the  “base rate” on which they make decisions – is key.

Second, note it’s S-shaped. If you’re winning, it takes a lot more wins to get the same flush of excitement you did on your first win. (Diminishing returns are what keep sensible adults at slot machines for hours at a time.) The perceived utility depends on how much utility you’ve got already.

Third, note it’s not symmetrical. This illustrates the biggest Cognitive Bias of all: Loss Aversion. (We tend to resist losing a lot more than we accept winning; it’s why investors ride their losing stocks down, while selling their winners while they’re still rising.) Loss Aversion is at the core of much human behaviour.

And that’s it. In tune with my theory that you only need one good book to understand 90% of any field, that’s all any marketer needs to know about Cognitive Biases and how useful they can be in understanding customers. If you’d like some of these principles applied to your own marketing, contact me.

Enough of the dancing, already!

By creating a video of herself dancing around her office at 4am, this girl found a creative and innovative outlet for delivering her resignation letter.

NOT.

The video is overlong, moves too slow, and says nothing of significant importance worth the viewer’s time. But worst of all, it’s yet another example of the laziest trend in advertising: If in doubt, put some dancing in.

Dancing. From big-budget broadcast to web virals, it’s all many of today’s young creatives seem capable of. “Yeah, let’s put some dancing in this one too! We haven’t done dancing for about, oh, one, maybe even two campaigns!” Dear me, kids today. A true race to the bottom, without concern for the most important person of all – your audience. 

I would estimate the standard of creativity required to get a job in a decent ad agency these days is no more than a third of that required twenty years ago. Evidenced by the cooing of her video viewers about how “creative” this girl is.

Look, SHE JUST PLUGGED IN HER FUCKING IPOD AND JIGGED ABOUT FOR A FEW MINUTES. There is precisely ZERO creativity in this work. THIS. IS. NOT. CREATIVITY.

It’s not entirely their fault – agencies these days want content producers and graphics designers. People who execute with craft, but never develop the “ideas gene”. That set of skills that lets them examine a marketing strategy and crash concepts together until they snap into the perfect line and visual that deliver the perfect impression to your audience, rewarding consumers for their time.

The market for copywriters and art directors – people who combine their skills to deliver epic and original concepts – seems smaller these days. But this fucking asskissing cocksucking catch-all of JUST PUT SOME FUCKING DANCING IN AND CALL YOURSELF CREATIVE has got to stop. Kids, STOP. THE. MOTHERFUCKING. DANCING.