Posts Tagged ‘what is copywriting’
Three Steps To Pump Up The Drama In Your Copy
All the world’s a story. Video games have storylines; newspapers report stories; country music lyrics tell a sad tale.
At a quick glance it would appear that fiction writing and copywriting are two mutually exclusive disciplines. But it just isn’t so.
Fiction and copywriting share the same heart: emotion.
What’s the goal for a fiction writer? I mean a slam-bang Harry Potter series type fiction writer? To write best-selling novels.
And what’s the target for a copywriter? To write best-selling controls, of course.
There are three fiction techniques that can pump up the drama in your copy:
- Imagery
- Tension
- Release
Let’s look at them one at a time.
IMAGERY
Imagery is defined as ‘mental images’ or ‘figurative language’. What it does is create pictures in a reader’s head through words.
The best way to get an image across is to find some common ground with the reader. That’s where similes and metaphors help. While some might think that this kind of writing has no business being in direct-mail copy, I’m here to disprove that.
Here’s an example for organic tranquilizer we’ll call Calm-All:
Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips.
We’ve all, at one time in our lives, probably felt like Becky. And that paragraph gives us a visual image of how she’s feeling. But what about Robin? How about this:
Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips — the ones that were all lined up — just so — like soldiers on a battlefield.
The addition of 14 words, ‘the ones that were all lined up — just so — like soldiers on a battlefield’, added depth to the scene and gave us a mental picture of Robin without fully describing her. The soldiers on the battlefield simile sets up the tension.
TENSION
Tension can manifest itself in lots of forms. There are tension headaches, tension rods, and tension in fabric. One of the best tools a writer can have is the ability to create tension in a storyline.
Now, this does not have to be the cliffhanger from Dallas — it can and should be more subtle than that.
It could be just a line.
That’s it, right there. The line right above where you are now — a one sentence paragraph — creates tension all by itself simply by disrupting flow. That’s where you want something memorable, disturbing, thoughtful.
How about Becky and Robin? What was the simile about the boxes of paper clips? That they were all lined up — just so — like soldiers on a battlefield.
The tension started in two places in that phrase: ‘just so’ and ’soldiers on a battlefield’.
- ‘Just so’ — Sure, I could’ve made it longer, explained about distance between the boxes or described how each box end matched the next one perfectly. But that would’ve been too long. “Just so” describes Robin’s anal compulsiveness without being wordy.
- ‘Soldiers on the battlefield’ — Not only does this visual give you an idea of the kind of precision Robin demands, but the “battlefield” states in one word the atmosphere in that room.
The icing on the tension cake is a line you haven’t seen yet:
Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips — the ones that were all lined up — just so — like soldiers on a battlefield.
She even wrote on the walls.
Now, by itself, wall writing isn’t that big a deal. After all, you probably did it when you were a kid or during that stint as a graffiti artist in San Francisco.
So what makes it more? The fact that it follows the paragraph where Becky lost it, had a meltdown, when postal. And it makes you wonder just what she wrote. It creates tension because its behavior you don’t expect from a rational adult.
Why?
Because society tells us that when an adult is angry and hurt writing on walls isn’t acceptable. It’s something a child would do and we can’t be seen as having so little control.
Okay, now Becky’s a psychopath because she wrote on some walls. The reader will hold her breath on several levels with different emotions:
- Whoa! What a psycho = shock
- Whew! I’d never be like that = relief
- Wow! Wish I could unleash it all like she did = desire and envy
With 21 words, your direct-mail copy for Calm-All caused your reader want to order to make sure she never reacts like Becky did.
And when she’s held her breath long enough, you let her go.
RELEASE
This is the point in a work of fiction where the writer lets go of the reader’s throat and lets her come up for air. And it’s the thing that keeps readers turning pages whether they are bound in a book or enclosed in an envelope.
Here’s Calm-All’s release:
Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips — the ones that were all lined up — just so — like soldiers on a battlefield.
She even wrote on the walls.
Hey, it’s okay to make a scene sometimes. It’s all right to get rid of pent-up frustration.
It’s just not your fault.
The last two paragraphs following the tumult of Becky and Robin make the push for Calm-All a slam dunk:
When you’re on your very last nerve, reach for Calm-All.
Just for fun, here’s Becky and Robin as a scene from a novel:
Becky lost it. Did exactly what her parents had warned her never to do:
DO. NOT. MAKE. A. SCENE.
Wisps of dirty blond hair stuck to the sweat on her face. Fury pounded her into the production room, all sense of business decorum lost.
Finding Robin’s things, her tools, Becky decided to destroy them as Robin had destroyed her. First was a wide tipped Magic Marker and next the graffiti on and over Robin’s desk. Robin’s boxes of paper clips ? all lined up just so like soldiers on a battle field — were cast all over the floor. And the stapler, pitched at just the right angle, shattered the glass on the frame of Robin’s Ad Age Award.
The award that was rightfully Becky’s.
The imagery is found in the third paragraph where we can actually see what Becky looks like at the point of explosion. The tension comes in the paragraph after that and the release is the last sentence.
CONCLUSION
Direct-mail copy’s story is told through the needs and desires of a reader for an offered product or service. Elements of fiction — imagery, tension, release — can enhance direct-mail copy and make the sale.
Remember:
Fiction does something To the reader
Copy does something For the reader
About The Author
Victoria B. Rosendahl
Copywriter
P.O. Box 280
Urbanna, VA 23175
804-758-3013–voice
804-758-3107–fax
mailto:rosendahlwrites@yahoo.com
Overnight delivery address: 118 Mill Pond Road, Warner, VA 23175
Your Article Headlines will Make or Break Your Business
Most people with an online presence will have to regularly deal with the issue of coming up with an appropriate headline. The problem is that most people do not take it seriously enough. Many do not realize that the headline is so important that no matter how good the content is, it will never get read if the headline does not beckon surfers to it.
The power of a headline In the offline world of the tabloid press, one headline can sell a few hundred copies while another in the same publication, can sell several million copies. Online headlines are even more important as quite often somebody will not have an opportunity to leaf through, like they do in a print publication. Quite often, even a summary will not be available and all the prospective reader has to go on, is the headline.
Most of us forget that we are motivated to read almost everything that we read online through the headline. Open any news page and you will only click on the headlines that you find interesting. Even on a page of search engine results, you will tend to go for a lower ranked page with a better headline.
What this clearly means is that every little tiny headline that you place on every small piece of content is important and will have an impact on how often that item gets read. Ultimately every little headline will contribute towards the success or failure of your site.
And what makes things even more difficult is the fact that you will be competing with many other excellent headlines online, most of them the work of professional copy writers working for leading websites.
Come up with your headline when the content is done The most effective way of writing good headlines is to come up with your headline only when you have finished reading the content. Not only is it easier to come up with a much better headline when the content is done, but you also be able to come up with different headlines covering different aspects of the article. You can then decide which is the most attractive aspect of the article to base your headline on.
This has become a harder decision to make in recent times because you have to consider other aspects like keywords with search engines in mind and balance this with the most captivating headline that will result in most people clicking on it to read the contents.
Spend more time on the headline and come up with various options Professional copywriters usually spend much more time on the headline than they do writing they content. It is important to come up with several headlines before you settle on your final choice. It is a good idea to regularly test different headlines for the same articles and see which one attracts the most hits.
About the author: S. Rosendahl is a Technical Executive Writer for Website Source, Inc. http://www.websitesource.com. Her established writing skills coupled with experience in the website hosting industry have provided internet professionals with marketing, product and service ideas for many years.
How To Find Freelance Jobs – Writing About Food
Did you know that jobs writing about food are available? These opportunities are available in a variety of areas. Employment in these fields is an exciting concept. For many, getting their foot in the door is the most important and most challenging first step. In order to succeed, a wide range of knowledge is needed as well as a good base of experience.
These jobs are available in all sorts of media. The internet is full of postings for good quality writers in a variety of fields. Some in this field write for magazines, newspapers, or even books. Others work right online. There are several avenues a prospective writer can take.
The first step in getting into any of these, though, is getting a good base of knowledge. There are courses that can be taken to give a good base of knowledge for the food aspect of the business. But, for the writing, grammar, and compiling of the articles and pieces, you will need at least a few years of schooling. Writing is the foundation of the work you will do, after all.
To start out in freelance writing though, you need to know how to get experience.
You can take your career to the next level by expanding your knowledge, getting your experience into a portfolio, and presenting yourself to the prospective employers. Try small, local newspapers to start. Or, submit an article to a magazine asking them to review it for consideration. Present yourself to the companies you want to start with, but always keep striving for other levels of opportunity. There are hundreds of companies that are looking for a new, fresh face in writing. You’ll find them throughout the internet posting on message boards and websites. Or, you can contact all of the organizations that you would like to get your start in by sending resumes and samples of your work.
You will enjoy a career with the freelance food writer jobs that you do get. You certainly will love the opportunities that are available!
Visit http://www.FreelanceWritingResource.com for more Articles, Resources, News and Advice about Freelance Writing Jobs.
Copyright © 2005 FreelanceWritingResource.com. All rights reserved. This article may be reprinted in full so long as the resource box and the live links are included intact.
How to Build Benefits from Features Fast and Easy with the Solution Approach
Every salesperson and fledgling copywriter hears the harangue: DON’T SELL the FEATURES of a product ? SELL the BENEFITS those features bring!!!
The concept’s important but it confuses a lot of people. Many sellers don’t understand how to build a benefit from a feature. Back when I was first learning to write sales copy, I didn’t know how myself. I just knew it was critical I figure it out.
Finally I realized what the problem was. You can’t get there from here. You don’t actually turn a feature into a benefit. You have to approach it from a different point ? the solution approach.
Here’s the full process?
When you’re looking for the benefit, don’t start by focusing on the feature. Instead figure out the problem the feature is supposed to solve. Then, determine what solving that problem could MEAN to the prospect. This payoff ? what the solution means to the prospect – is really all a benefit is.
Here’s an example…
Product: Car
Feature: Cruise Control that automatically maintains a set speed without the constant pressure of your foot on the gas pedal.
One Problem it solves: lets you maintain speed limit without constant attention
What the solution means to the prospect: Maintaining the speed limit means you avoid breaking the law which means you avoid getting a ticket which means you avoid higher insurance premiums. Here’s a benefit headline that naturally flows from the Payoff we found in our example:
Avoid Speeding Tickets and the Higher Insurance Premiums They Cause
Cruise Control solves another problem too: the driver’s leg doesn’t tire from having to maintain a fixed position to keep the accelerator pressed
What the solution means to the prospect: Avoiding the tiredness of a fixed position means you arrive fresher and ready to enjoy your destination which means your companions or family enjoy your company more.
And here’s a benefit-based lead we could write from this solution:
Face it. It’s not much fun for your family when you finally arrive at Disney but you’re grumpier than an old bear with a bad back. After all, you probably feel about the same as if you spent every winter scrunched up in the same position.
It’s not your fault. Driving is naturally tiring when you have to sit in exactly the same position for hundreds of miles at a time. Your gas-pedal foot is frozen, your leg is paralyzed. You can’t help stiffening up and getting achy. WHO WOULDN’T BE GRUMPY?
Good news. You wouldn’t be ? not if you had Easy-Street-O-Matic Cruise Control. Not anymore.
Just imagine. Driving in complete comfort, able to shift in your seat any time to get a more relaxed position. It’s okay to move that leg around. It’s safe!
Now when you reach Disney, you’ll be first to bound out of the car. The kids will have to run to keep up. They won’t believe their new Dad!
(Yes, I know this tongue-in-cheek example is pushing the bounds of credibility slightly. But it makes the point. Find the solution that a feature offers and then figure out what that means to your prospect. There’s your benefit.)
Here’s another example?
Product: Daily Supplement for Men
Feature: Contains naturally occurring nutrients that are not acid-forming like chemically derived nutrients.
Problem it solves: Can be taken on an empty stomach at any time because natural nutrients are self-buffering.
What the solution means to the prospect: You’ll be able to take the supplement whenever it’s convenient for you without worrying about an upset stomach because you haven’t eaten. That means you’ll be more likely to take it regularly which means you’ll get the benefits of greater energy and health. Ultimately that will lead to a longer, healthier life, especially since to be effective against diseases like cancer that take a long time to develop, you must be taking the defensive nutrients over an equally long period.
I’ll leave it to you to build some headlines and leads from this second example. Once you have the benefits, it’s a lot easier.
The next time you need to create sales material, use this Solution Approach to build your benefits. It will go a lot faster once you approach it from the right point.
Ronald A Murphy is a Copywriter and Graphic Designer specializing in Direct Response and Internet Marketing. Murphy writes and designs sales letters, direct mail packages, inserts, web sales pages, direct email, newsletters for marketing, Internet articles, white papers, and other sales focused materials. He provides expertise to clients serving financial, business, technology, health, opportunity and fundraising markets. For more information on copywriting and marketing, visit his site at http://RonaldAMurphy.com
Hey, Client, This Is Me! Sell With Your Writing Voice
In a crowded market, clients will be seeking personality as they read what you’ve written — they’ll click right past pages that feel “been there, read that.” They’re looking for a voice that says, “Hey, client, this is me!”
They want to know not just what you deliver — but how. Will you be funny or serious? A perky cheerleader or a sardonic commentator? Will your view of life be based on “believe and it happens” or “what you see is what you get?”
Here are some tips to add your own voice to your writing.
1. Write from the heart.
Too excited, passionate or angry to sit still? Best time to connect with your voice. Grab a pencil and scribble ideas as you jump around the room.
2. Say something new.
After forty articles on time management, your readers know about cutting projects into manageable chunks and setting priorities. Ho hum. Try “better than zero” or “turn your life into a time warp.”
3. Tape yourself talking to a good friend about a product.
Do your words sound different when you speak than when you write? Transcribe the tape into an article for easy reading.
4. Picture your ideal client (you do have one, don’t you?). Imagine that she is gushing about your service to a friend — highly recommending you. What words does she use to describe your services? What emotions come through?
5. Cut. Then cut again. When you have to trim your piece to meet a word count requirement, notice that you’re left with the most essential words — all yours.
6. Write fast. Get the words down before your inner critic has a chance to participate. Edit later.
7. Reveal yourself: family, mistakes, secret dreams. When you feel just a bit embarrassed, or feel your private persona has become more public, you’ve probably just touched your audience’s heart.
8. Be concrete — not abstract.
As writing guru Natalie Goldberg would say, “It’s a geranium, not a flower.”
9. If you’ve had voice training, be especially alert to creating the bland and the blah.
Julia Roberts could hold an audience while she reads the telephone directory. Your copy has to stand alone, without dramatic oratory. Exercise 3 may not work for you.
10. Don’t be afraid to break the rules: use slang and contractions. And it’s okay to begin a sentence with “and” or “but.”
Just tread carefully on the rules of grammar and spelling. “Your about to head off for you’re great adventure” can be a credibility-buster.
About The Author
Cathy Goodwin, Ph.D., is an author, speaker, editor, and consultant. She helps clients who want to use writing to sell and sell what they write.