Writing The Iceberg: Advertising And Content Marketing Depth

I was a junior in college when I took my first formal copywriting class. It was taught by the creative director at what was then one of the three largest advertising agencies in Nevada. We never hit it off.

We never hit it off because he always presented himself as cool and aloof, even showing us the couch where he would nap away the afternoon at the advertising agency where he worked. The nap idea was a remnant of how advertising agencies worked during the golden era of advertising. Whatever got the creative juices working was all right by the account and accounting side of the house.

I wasn't bred to be that kind of creative. I was more of a workhorse, spinning clever ideas out of nothing (a few of which he riffed for his own work). Half the time, I didn't think he noticed my work. He and everyone else always praised the kid who would turn every ad a motocross analogy. Boring.

It wasn't until my final that this professor left me a cryptic half compliment on my final assignment (we were asked to produce advertisements for ten different organizations, most of which were real-life accounts for his agency). "Rich. You're the only one in this class who will make it as a copywriter, but only if you learn that clever is not enough. Advertising is hard work. These ads are just clever. A+" Maybe you can see why I was happy to be done with him at the time.

Advertising And Content Marketing Needs Depth 

It wasn't until years later that I understood what he really meant. Had I known then what I know now, I would have appreciated the depth behind his cool facade and recognized his persona was an analogy for the work. Advertising and content marketing doesn't have anything to do with being clever, even if the deliverable — the concept, creative, copy, content — seems to prove otherwise.

I would have better understood this point had my teacher had the tools to explain it better. He might not have known it, but he was talking about Hemmingway's Iceberg Theory.

“If a writer of prose knows enough of what he is writing about, he may omit things that he knows," said Hemmingway. "And the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them."

While Hemmingway's words are generally confined to creative writing and not business writing, the observation is transferable, if not even better suited to advertising and content writing. The clever headline or image you see in an advertisement that works is only the smartly distilled tip of an iceberg.

Below the surface, there resides a massive collection of customer research, organizational history, brand value, reputation management, mission, vision, values, testing, measurables, competitive analysis, core message, and scores of crumpled paper balls (most of them virtual nowadays).

So if you are wondering why marketers who jumped on the bandwagon to produce variations of Maurizio Cattelan’s “masterpiece” of a banana taped to a wall (which sold for $120,000 and was then eaten by another artist in the name of performance art) get a failing grade, now you know. All those in-the-moment social media mocks are akin to being cliche because it's all surface ice with no substance beneath it. Maybe it's worth a chuckle, like, share, or whatever. But beyond all that, it's just another message that distracted from whatever you want consumers to know.

Why I Want To Tell Writers To Stop Aspiring At Comic Con

The title of the panel that I'm participating on at Wizard World Comic Con might be entitled Calling All Aspiring Writers! The New Writer's Survival Guide, but I'll have a different message this time out. I'm going to tell them to stop aspiring all together. Very few aspiring writers ever become writers.

People who write become writers, which is why there are just as many accidental writers as there are writers who had always dreamed of becoming one. You have to aspire to be something more — a freelance journalist, copywriter, communication specialist, author, etc. — that makes more sense.

Most writers develop an affinity for one writing discipline over another and then invest less time into writing and more time into everything else around it. Very few have the time, talent or desire to weave in a bit of everything into their careers. Even closely related styles are surprisingly divergent.

Not many copywriters can write a press release (nor would they want to) and not many public relations practitioners can write advertising copy (no matter how hard they try). Even journalists who write for newspapers or magazines approach the craft differently, with the latter often lending more color, life, and perspective to their stories than the former with crisp graphs filled with facts. Most broadcast journalists admit to being further removed. And authors, especially novelists, have bigger challenges than many other career paths. Most of them have to balance their passion with a paycheck.

This is also one of the reasons I'm especially excited to be part of this panel. 

Genese Davis has assembled a diverse ensemble of writers to share their experiences and expertise to participate in an open-ended conversation that will flow and evolve with the panelists as well as the audience. What is especially interesting about the four of us is that we mostly break the convention of specialization mentioned above in favor of being creatives who happen to write about what they love.

Genese Davis is the author of The Holder's Dominion, a thriller about a young woman who joins a massive popular online game called Edannair to escape the pressures of college and the tragic death of her father. While her plan works at first, one of the game's elite clans has taken to coercing members into taking offline dares.

Along with her novel, Davis is a featured columnist at MMORPG.com, the founder of The Gamer IN You, and an iGR Woman of the Year award recipient for her outstanding efforts in debunking stereotypes related to gaming. All of these experiences helped lay the foundation for her first novel.

Pj Perez is an American editor, writer, and musician best known for his reports on the Las Vegas culture for publications such a Rolling Stone. He has written for dozens of periodicals in Southern Nevada too, including Las Vegas Weekly, CityLife, and Vegas Seven. He currently writes for a variety of Wendoh Media publications and the MGM Resorts M Life magazine.

About six years ago, Perez relaunched his comic book and pop culture website, Pop! Goes the Icon, a boutique publishing label and online publishing house. It specializes in comic books, graphic novels, webcomics, and other forms of graphic literature and pop art.

Maxwell Alexander Drake is an award-winning science fiction/fantasy author and graphic novelist, best known for his fantasy series, The Genesis of Oblivion Saga. The epic series spans six novels that take readers deeper and deeper into a world of their own as the Talic'Hauth and follows the lives of its people over thousands of years.

He also teaches creative writing at schools, libraries, and writer's conferences all around the country. He is frequently a featured speaker at events such as Comic-Con International in San Diego, Gen-Con in Indianapolis, and Origins Game Fair in Columbus.

The accidental career path that afforded me a little bit of everything. 

As the fourth panelist, my place may seem a bit oddball in that my creative writing is only slowly starting to take shape after more than 25 years as a commercial writer — copywriter, journalist, content marketer, executive coach, political campaign strategist, and business communication strategist with award-winning work in everything from script to screen. Most of it happened by doing.

The truth is I never intended to become a writer. Although my first fictional story was serialized in a junior high school newspaper and my first poem appeared in print before that, I never intended to become a writer. I originally majored in psychology, believing art had limited career opportunities.

After studying psychology for a year at Whittier College, I learned the field primarily branched into two paths — listening to people's problems or teaching mice to press bars for cheese. It felt limited.

So I opted out of the program in favor of attending the University of Nevada, Reno with an intent to major in art and minor in psychology. The idea was to bring the two degrees together to begin a career as a graphic artist.

The university had other plans. The Reynolds School of Journalism recruited me into an advertising section of a journalism program that ranked fourth in the nation. They taught me how to channel artistic creativity into words instead of art, nurturing dual skill sets as a copywriter and journalist.

Upon graduation, I followed a girl back to Las Vegas rather than take any number of journalist job leads afforded to me by my mentors. I freelanced with a foot in two fields, writing advertising copy and collateral for agencies and articles for newspapers and magazines. Doing grew into a business.

Within a few years, as most entrepreneurs find out, growing a business is a different cut from freelancing. So while writing remained central to my career (about 15,000 words a week), new responsibilities required new skill sets — business management, creative direction, message development, strategic communication, platform architecture, public policy, and publishing among them. There were so many tasks that needed doing, it started squeezing out the creativity at times.

At one time, there were 40 full-time, part-time, and freelance writers and designers on our books. But after selling my first publication and surviving cancer more recently, I rewrote the business plan. And today, I only work with a handful of select clients while reviving my creative roots by doing.

In fact, there is only one thing more important than doing. You have to stick with the business of living. In other words, much like writing, you have to find an active voice instead of a passive one. Active living is where most writers find the inspiration to turn aspiration into action. Good night and good luck.

Five Popular Content Writing Tips That Are Dead Wrong

With the proliferation of technology, some people assume that writing proficiency is increasing and not diminishing. This isn't the case. One recent OECD study shows that despite having higher than average educational attainment, adults in the United States are below average in basic literacy.

How low? The United States ranked 16th out of 23 countries in literacy proficiency, with one in six adults scoring below level 2 (illiterate) on the literacy scale. Perhaps more troubling, college graduates demonstrate comparatively miserable scores. This means that degrees are beginning to create a meaningless expectation that graduates possess basic skill sets.

"Moreover, the relationship between parents’ education and skills proficiency varies across generations," the study says. "In Korea and the United States, for example, the relationship between socio-economic background and skills proficiency is much weaker among younger adults than among older adults."

While some might not be surprised to see the study cite a decline in literacy, education is not at fault exclusively. Despite employers wanting employees with strong written and verbal communication skills, more and more professionals promote content tips that reinforce the idea that writing is less important than it was in previous decades. Here are five myths that demonstrate it.

1. Everything is trending toward less words so write less. While writing tight and economy of language are important objectives for all writers, writing "less" is always superseded by the idea that content needs to be as long as it takes to effectively communicate a point. More can be memorable.

Never mind what big brands do. Copywriters have long known that big brands have the advantage of product familiarity. It's easy for Coca-Cola to show a big picture of a polar bear and a can of coke and have people understand it. Coca-Cola literally leverages a lifetime of marketing about Coke, its taste, and its product distinction. They don't write "less." They wrote "more" in a very, very big way.

If you tried to launch a new brand of soda the same way, it would likely fail. New voices in social media and content marketing face the same challenge. Well-known names writing about social media can say something in a few sentences. Newcomers and less familiar voices have to provide proof.

2. Adding exciting words to marketing copy will jazz it up. The biggest division between advertising copywriters and less experienced marketing content writers is seen in their word choices. Many marketers think that people respond to "greatest," "most exciting," and "best ever." They don't.

People respond best to facts because they convey memorable bits of information while empty claims lack conviction. You can write that a car has "zoom" and possibly attract attention (even if it is cliche), but if you don't back it up with facts — 0-50 mph in 60 seconds — people will easily draw their own conclusions. They might even conclude that all your hype is really hyperbole.

The truth is that empty claims are as boring as cliches. They are also harder to remember because they blend into the background like other generalities. A restaurant that sells delicious chicken is much more forgettable than a restaurant that sells crispy fried chicken, oven-roasted chicken, or free-range chicken. While all of them could be delicious, facts help people make purchasing decisions.

3. Writing catchy copy takes almost no time at all. Real writers know that packing conviction into a few short graphs or a headline demands discipline. It requires editing skills, proofreading skills, cutting, rewriting, and then more cutting and more rewriting. Writing tight takes more time, not less.

If you ever study automotive marketing, you'll find that the best manufacturers tell different parts of a big story across several mediums. Television commercials and some print advertisements are often nothing more than invitations to the rest of the message. The bulk of the marketing message comes later, perhaps in a brochure or on a website where it makes sense to provide details for people who are actively purchasing a car.

The point? Looks can be deceiving. One ad with a 3-5 word headline has an entire novel of strategy, psychology, and content behind it. Very few good writers just jot down whatever comes to mind. For most, even if some spark did originate in the shower, the hard work happens before and after the fact.

4. Persuasion and believability comes from good writing alone. There is some truth to it, but not really. Even when writing is beautifully conceived and perfectly written, it still needs some help. This is especially true for advertising copy and marketing content because people know it is biased.

When facts alone are not enough, content writers can employ several dozen approaches to elevate content credibility. These can include any number of customer testimonials, third-party endorsements or research studies, independent case studies, organization success stories, performance tests, key performance indicators, objective measurements, and even guarantees (provided they aren't cliche).

Even marketing content writers can boost their credibility by providing links to other stories and sources. It demonstrates that the opinions, thoughts, and conclusions weren't generated in a closet but within a greater and informed context. Let readers know you've done some homework.

5. One medium will rule them all and in the darkness bind them. There is increasing chatter that visual communication is outpacing written communication on the net. It's true and untrue at the same time. Images can boost both attraction and retention but the notion that images beat words is fiction.

Good copywriters (and perhaps all writers) have always known not to think in terms of words alone. Most are taught or teach themselves to think about communication as a mixed medium and in multiple dimensions. Pictures, symbols, shapes, layouts, and different components like audio and video can all contribute something to whatever needs to be communicated.

The idea is to think visually, no matter what role writing plays as part of the communication. Ask good educators. They know it too. Teaching that includes audio, visual, and written communication creates powerful connections and increased retention. So don't expect writing to lose its luster anytime soon. It will only become more important.

The solution for a better educated work force is to stop making excuses. 

The current education system isn't exclusively to blame. All five of these "tips" indirectly contribute to the greater myth that the written word is an inferior form of communication. It's not. The written word in one of the most accurate and flexible means of communication ever conceived and we're living in an era where we can access more of it than ever before in human history.

As communication professionals, we ought to do everything we can to support the written word rather than dumbing down marketing communication to cover for the abundance of bad writing being produced on daily basis. It seems to me that overtly short content, marketing fluff, rushed content, unsupported claims, and pretty pictures aren't a solution to combat illiteracy but a contribution to it.

These topics and how to make a positive impression with clear, concise, and grammatically-correct personal or business writing will be part of a half-day program, Editing & Proofreading Your Work, on June 6 at the University of Nevada, Las Vegas. In addition to discussing current trends, the class focuses on common mistakes that writers make and how to assess your individual writing skills.

Why Did Some Super Bowl Ads Swim While Others Sank?

USA Today released the results of its Ad Meter, an industry tool designed to capture public opinion surrounding Super Bowl ads. Nowadays, the popularity measurement is cited most often as an indicator of which advertisements won and which lost on their $4 million bid for attention.

What's missing from previous years is a foil that some serious marketers once appreciated. For a few years, HCD Research attempted to provide deeper insight into what makes advertisements work by measuring creativity, emotion, memorability, and involvement.

The Ad Meter really doesn't have depth in its methodology, but it still provides a baseline. In previous years, the top five effective advertisements were generally among the top 25 percent in popularity.

Top Five Super Bowl Ads for 2014 

1. Budweiser "Puppy Love," score 8.29 | 42 million YouTube views
2. Doritos "Cowboy Kid," score 7.58 | 1.5 million YouTube views
3. Budweiser "Hero's Welcome," score 7.21 | 750,000 YouTube views
4. Doritos "Time Machine," score 7.13 | 2.2 million YouTube views
5. Radio Shack – "Phone Call," score 7.00 | 1.2 million YouTube views

Alongside the USA Today Super Bowl Ad Meter, Budweiser "Puppy Love" also won most TiVo commercial replays and social media scores kept by the Super Bowl Digital Index at ListenFirst. And Puppy Love wasn't the only big win by Budweiser. "A Hero's Welcome: Full Story" contributed to some 44.3 million views on its YouTube channel (as of Feb. 3). It also ranked high among the best commercials according to Entertainment Weekly's Popwatch list that put "Phone Call" on top.

Rounding out the top ten are "Sixth Sense" by Hyundai, "Gracie"  by General Mills, "Empowering" by Microsoft, "Going All The Way" by Coca-Cola, and "Soundcheck" by Pepsi. Conversely, Dreamworks, GoDaddy, Sprint, Subway, and Bud Light rounded out the bottom.

Writing Effective Television Commercials

So where did some advertisers go right and some go wrong? The biggest winner of the evening across almost any measure was "Puppy Love" by Budweiser. It easily won in emotion, memorability, and share-ability. The only area where it really doesn't win is in creativity, but only because the commercial is a rewrite of a familiar storyline for Budweiser. It frequently taps animal friendship stories.

In fact, it was a friendship between a bull and a horse growing up that helped Budweiser capture the top spot in 2010. "Bull" is arguably the better of the two, despite also being a borrowed and recast idea.

Even so, the formula for Budweiser has been working all these years for a reason. When you dig deeper and compare the top ten commercials to each other, there are some apparent consistencies.

1. Emotive. As with all top advertisements, the best of them have positive messages that attempt to make an emotional connection, with the exception of Pepsi. The lowest rated commercials do not make the connection or, in some cases, like Chevy's ill-advised "Romance" commercial about studding bulls, are very negative.

2. Authenticity. All of the top advertisements are true to their brands, especially Radio Shack (which only gave up points to anyone who doesn't know the 80s). The bottom commercials tried to be bigger than the brand, setting viewers up with big stories or big celebrities before weak payoffs.

3. Connectivity. Almost all of the top ads work hard to make a connection between the public and their product. They pull you into a story, relationship, and place they take up in your life (like Gracie by General Mills). The bottom ads aim for push messages before screaming "look at me."

4. Creativity. Every year someone tries to convince me that creative is the key to great advertisements. While creativity is important, it seldom comes in the form of special effects or celebrating itself. The one exception this year is "Soundcheck" by Pepsi (simply because it is so well done). Lower down on the list are those commercials that the authors smugly claim are clever like GoDaddy.

5. Youthful Promise. Where nostalgia once attracted significant attention because Americans were longing for what they knew just a few years prior, smart advertisers replaced the recipe with the promise of youth. Some people will claim that "kids" made the commercials work, but there is something deeper at work here. Americans aren't necessarily growing up as much as they are growing out of some hard years.

All in all, what worked this year isn't all that different from what worked four years ago. The differences are present, but subtle. And, in fact, it is in this subtlety that you can find the real genius of advertising — making minute-to-minute changes in direction to keep pace with public sentiment.

At $4 million per commercial, you would think such in-depth understanding of the public would be mandatory. It's not. The vast majority of Super Bowl commercials this year were too concerned with social share-ability and safety to be truly effective. Of them all, Cheerios took the biggest risk.

Some might say Coca-Cola deserves such honors for singing America The Beautiful in Spanish, Tagalog and Hebrew. I disagree, only because Coca-Cola seems to be trying to create controversy with the English-only crowd whereas Cheerios was making a play for our hearts. There's a difference.

Great advertising is a tricky business. And while Americans weren't treated to the best Super Bowl commercials this year (or the best Super Bowl), there were several that showed hints of greatness — good enough that you might learn something about communication anyway. What do you think?

Storytelling: Where Communicators Get Miffed

Since scheduling pushed back one of my creative projects this month, I had this idea to recycle some fictional content as a holdover until I had time to finish up something freshly original. The initial thought seemed smart. The story hadn't appeared since it was part of a juried art exhibit years ago.

It took some time, but I found the story, polished it up, gave it another read, and then decided I hated it. But undeterred, I passed it over to an editor anyway. She wasn't keen on seeing it republished either, which was secretly the affirmation (or perhaps anti-affirmation) that I wanted. Weird, I know.

The story didn't fit with my most recent body of work, and I was very curious why that might be. She offered some suggestions, but none of them felt right until it hit me. The only feeling that lingered after the last sentence was somewhere between nothing and cynicism. Everything recent hits much harder.

Yeah, but what does this have to do with marketing and communication?

It has everything to do with it, which is why I'm starting to believe that everything most advertising, marketing, public relations, and communications teachers taught you was wrong. Almost all of them miss one of the most important ingredients in content, and it's the same one clients most often miss too.

It's not their fault. Rubrics have a stranglehold on education. In the communication field, one of the most popular is the ADIA model — Attention, Interest, Desire, and Action — or any of its variations (CAB, ADICA). It's a fine model, but it just isn't enough.

There is something else at work that writers have to pay attention to. It's the ability to move beyond the call to action and connect with an emotion, which is what creates the illusion that content is a fulfilling conversation. Think of it as an epilogue of sorts that creates an emotional connection (and I don't mean a like, follow, friend, or retweet) that people will later identify with the brand.

This is why tapping into people's imagination is so important. It's also why two perfectly structured advertisements that follow ADIA or some other format are not always equal. One might follow the structure, but it misses this mysterious ingredient. (Heineken's recent viral The Date spot misses it.)

The missing ingredient includes two parts. One is an emotion. The other is fulfillment. While the former can be anything, the latter needs to linger on a universal truth. Even if not everyone agrees, it feels right.

This feeling, that the author reinforced or opened our eyes to something new but patently obvious, is what makes some storytelling work so well. Mickey Gomez really gets it, even if she hasn't analyzed it. Geoff Livingston mostly gets it because it is innate in him. Jennifer Lawson gets it, even when her technical skill sometimes slips. I get it on good days. Most writers really don't get it.

Clients don't get it either, but for a different reason. Most of them are too focused on the experience they feel, and not the consumer. In other words, they look at the content and get excited because they think it represents them. But trust me on this: Consumers don't care how good an ad is supposed to make the brand look.

The one question you should always ask about your content. 

It's not always easy because, just like clients, writers sometimes become consumed by craft. They are either taken by the cleverness of it (as in advertising), the 'sales' pitch (as in public relations), or how pretty the prose is (as in authors). All of that might help, but none of it matters.

Storytellers and content creators have to look at this stuff objectively and then ask themselves what is the feeling a non-stakeholder will be left with at the end of the story. And then they have to consider whether or not that feeling aligns with the brand and creates a connection (ideally one associated with the brand). This is where content marketing and customer experience connect.

Ergo, content is an experience ... but only when it fits. It's the lingering emotion that really counts.

Writing Tip: John Irving Starts At The End

While teaching editing and proofreading at UNLV, one of my students asked for tips on inspiration. Since inspiring yourself was fresh in my mind, I started with that (even though there are plenty more).

Most of those tips are more creative than strategic. However, there are some strategic elements to writing that anyone can apply. One of them is simple enough. It's something copywriters learn (often indirectly), but the technique is also employed by others — including John Irving, author of the World According To Garp, The Cider House Rules, and A Prayer for Owen Meany (among others).

Author John Irving starts at the end. How about you?

Irving never writes a novel or a screenplay without knowing the ending first. He doesn't only need to know what happens at the end. He has to know the exact sentences themselves. He needs to know the atmosphere and tone. He considers all of it an "end note" to whatever he works on and toward.

The reason he does it is most stories have already happened before they can be told. It's often the conclusion that helps writers determine whether or not the story is worth telling. If you are late for a meeting, for example, you might tell why you are late if the cause was traffic, road construction, an accident, or some other event worth telling. You might not tell the story if the ending is unwritten — your struggle to always be on time, absentmindedness, or the inability to allot enough time.

You can take this step a bit further. Knowing the end is also what drives the inspiration. If you know the ending is exhilarating or interesting or educational, deciding how to begin tends to be more engaging for you as well as any future readers. There is an excitement.

Applying the end to advertising, journalism, and public relations.

Advertising. For advertising copywriters and marketers, the end can be determined in something as simple as a tagline (not the call to action, which is something else). The more timeliness the tagline — Just Do It, Drivers Wanted, We Try Harder, A Diamond Is Forever, and Got Milk? all establish the end of a story.

When the end of the story is strong, the rest of it will fall readily into place: It gives weight to Nike showing us extraordinary athletics applied to ordinary people. It gives meaning to the right Volkswagen being found by the owner/driver. It shows what Avis needs to do in order to overcome not being the biggest. So on and so forth.

As for the campaigns you don't remember, many of them have weak taglines or none at all. The campaign probably doesn't have any resonance to tie its individual pieces together. Maybe the story becomes so overinflated with creative that it's difficult to remember the point of the piece.

Journalism. New stories aren't much different. The end frequently gives away where the writer's head was at while they were writing the piece (even if they didn't know it themselves). It's always in the last few paragraphs where they button up their stories, conveying their own bias toward atmosphere, tone and foreshadow.

Sure, they might not always know the ending as verbatim as Irving might, but the ending almost always shapes the story: who they interview, how facts are prioritized. It's how they decide what story slant to tell, with the only difference being how heavily they allude to the end. And if they are any good, they are willing to change that end if their research, sources, and compilation of facts don't bear it out.

Public Relations. When you look at news releases, you'll likely find that the best of them have some semblance of an end while the worst of them (and most of them) do not. Or more specifically, the best of them sound like news stories. The worst of them do not (and many sound like weak marketing).

Part of the problem is how it is taught. So much emphasis is place on the first graph in the inverted pyramid that many press releases become vanilla. The same can be said about pitches. The best of them lead with two thoughts — the tease and the end — telling journalists exactly why they might care. The worst pitches are facts, without even a hint at why it was written beyond some client telling them to burp something out. It's not all the practitioner's fault. Many businesses don't have an end in mind.

How the end means more than how you get there.

It doesn't matter who you talk too. Listen for the end. Great leaders, great communicators, great speakers, and great writers alway know the end before they begin. It's the end that resonates.

I was in a business meeting the other day and I left feeling uninspired. It didn't take long to figure out why. The executive who called the meeting didn't have an end. He talked about problems, organizational charts, and push back from investors. But he didn't have an end. There was no win.

If he did have an end, it was grounded in uncertainty. It reminded me of a job applicant I met a few months ago when I was helping another client screen for talent. All he talked about was how much he hated his job and could not wait to leave. His story had an end, but not for the company he wanted to move to — unless that end was simply going to mirror the one he told.

Contrast this with anyone successful and you might notice they always have an end. It might be conveyed in a vision. While that vision might be subject to change from time to time, you can still wrap your head around. It's the end that inspires people to listen just as it inspires what someone might write.