At this writing, the COVID-19 virus is still rampaging through the United States, leaving death, misery and terror in its wake.

In response, much of the nation’s economy has simply stopped. During the second quarter of 2020, the gross domestic product declined by a jaw-dropping 32 percent—more than three times worse than the previous single-quarter drop.

Thousands of businesses have disappeared, never to return. Those that have managed to adapt seem to be hanging on by their fingernails, hoping the good times return before they too succumb.

Given all this, one might expect ordinary people to retrench to safety—and especially, to pull back on charitable giving.

In May 2020, Gallup released a poll showing charitable donations at a new low. Among those surveyed, 73 percent indicated they had donated money to charity in the past year. (That would encompass the beginning of the COVID crisis, but also a substantial period before.) That percentage might seem high, but it’s down substantially from just three years prior, when 83 percent answered in the affirmative.

As might be expected, the drop was most pronounced among lower- and middle-income households.

But most tellingly, the Gallup poll didn’t distinguish between people of strong religious faith and those without.

In the Christian sphere, the story is much different.     

Steve Woodworth is president of Masterworks, a marketing agency that serves numerous Christian nonprofits. That gives him an up-close, up-to-date view of faith-based charitable giving across the country. He notes that for most of his agency’s clients, new donor acquisition didn’t just remain stable with the advent of the COVID era—it increased by multiples of two to five.

And that trend has shown no sign of abating. “The ‘new normal’ of increased generosity from Christian donors has continued,” Woodworth observes. “Giving from general donors continues to be especially strong for local/regional missions.”

What about major donors?

“For March through July, the number of major gifts is up,” says Woodworth, “but gift size is down, due to missing out on some 6-figure gifts that occurred last year but not this year. The fact that major donors’ number of $10,000-plus gifts is up across so many organizations is unprecedented in a recession.”

Meanwhile, of course, fundraising that relies on in-person events has suffered.

Direct mail appeals continue to be the reliable workhorse for faith-based nonprofits. But digital fundraising has shown a similar buoyancy, according to Woodworth. “While June and July have not maintained the sky-high response levels that we saw in March through May,” he says, “we are still seeing returns from digital media that are averaging above the pre-COVID levels, even as we spend more.”

Will the current donor enthusiasm wane with the crisis?

That would be a reasonable expectation, but it isn’t happening yet, according to Woodworth. “So far,” he notes, “at 30, 60, and 90 days, the donors acquired during the pandemic are giving second gifts at the same rate as any online-acquired donor prior to the pandemic.”

Poll results suggest that the upwelling of donor enthusiasm will endure. Dickerson, Bakker & Associates, a firm that serves Christian nonprofits, conducted a survey of 1,079 donors between May 29 and June 22, 2020—in the midst of the COVID crisis. Most of those surveyed (60 percent) expected their giving to continue at the same level in 2020 as the year before. But 25 percent expected their giving to increase. Only 15 percent expected to give less.

Of course, all that could change if the economy doesn’t recover fully soon. People can’t give if they have no money. But for now, the prospects look good indeed.

Steve Woodworth sums it up well: “Even as the virus surges in most states and the recession seems destined to last for some time, Christians continue to amaze us with their generosity. We are all ready for things to return to normal, and we have no idea when that will be. But God seems to be doing something unusual and unexpected in more ways than one, and generosity is one of the most encouraging things I’m seeing. We continue to pray for this generosity to continue, even as we pray for the pandemic to end.”

#  #  #

There’s no substitute for the guidance and encouragement of a real, live human.

Lately, public officials have been squabbling about when it might be safe to reopen our schools in the face of a devastating pandemic.

It’s a valid question with no easy answer. Meanwhile, distance learning has become the fallback option. Students and teachers communicate online with no in-person interaction. Few would say it’s ideal, but it’s better than nothing.

The issue highlights something most of us know, intuitively or otherwise: There’s nothing quite like live, hands-on learning. Knowledge sinks in deepest when it’s transmitted directly from one human to another. We all need mentors to succeed in work or in life. And it’s hard to mentor someone from a distance.

Mentors and NOT MENTORS

Here’s something else we all know: Not all teachers are mentors. By the time we reach adulthood most of us have had dozens of teachers. We remember the really bad ones. Most of them weren’t bad, just forgettable. And then there were those few who made a real, positive impact. They were the ones who took a genuine interest in our progress and well-being. They conveyed valuable insights that we never forgot. They changed us. They’re easy to remember precisely because they’re so rare.

In an age when online courses and even degrees are becoming commonplace, we may be losing the most vital element in the learning process: the fruitful relationship that can exist between a genuine mentor and a pupil.  

From Myth to Reality

Mentor was the name of a character in Homer’s epic, The Odyssey. In the story, Odysseus has a son, Telemachus, who is floundering dangerously without direction. Athena, the goddess of wisdom, assumes the form of Mentor, an old family friend, to intervenes in the lad’s life. Using this disguise, she guides and encourages Telemachus, imbuing him with mental fortitude to face life’s challenges.

If you can get past the goddess part, that’s a great illustration of what a real-life mentor does.  

Many years ago, my friend Roger Seymour asked me to write a book with him. He was a psychologist with a sterling reputation and a thriving practice. I was a talented but relatively unaccomplished writer. So, it was a risky move on his part. Roger knew I had written feature articles and columns for a variety of publications. But writing a book would be new territory for me. He felt I had some untapped potential and so was willing to take the risk.

We worked together for several months and eventually came up with Why Can’t I Get It Right? A New Look at Christian Freedom, a book based on Roger’s personal journey and years of experience as a therapist. Eventually, we found a publisher who liked the book and picked it up. (It’s still available on Amazon.)

That experience launched me on a new phase of my career: ghostwriting. It empowered me to begin using that skill with other would-be authors, helping them produce and publish their books. Through the years, I’ve been privileged to work with interesting people in an amazing variety of fields and see them fulfill their dreams.   

Roger had faith in me, and that faith never wavered. Throughout our friendship, which still thrives, he continually affirmed and encouraged me—as a writer and as a person.

That’s a mentor.

A few years later, my career was at another lull. I decided to call on my old friend Gifford Claiborne, a fundraising pioneer with over 50 years of experience. I was intrigued by the prospect of making a decent living while helping to sustain worthwhile organizations. So, I asked Gifford to show me how to write effective fundraising copy. He began patiently sharing as much of his expertise as I could absorb. Then we worked together on a variety of projects. The experience gave me confidence to take on other work in the same field. And that’s how I embarked on yet another career journey.

That’s how mentorship works.

Here’s some advice for anyone seeking to excel in any field: Don’t just study it in school. Find someone who’s doing it, who’s good at it and happy to share with you. Make friends with that person.

And then, watch and listen.

You’ll go far.  

#  #  #

Anyone who’s donated to a food bank or a skid row mission has gotten one of these letters in the mail . . .

The outer envelope has a teaser: “Feed a hungry person for $1.92”—or something similar. The letter inside explains that it only takes a small donation to make a real difference in the life of a hungry person—so why not donate today?

The cost per meal, whether it’s $1.92, $1.57, or some other number, is always strikingly low. Who could imagine providing a full, hot meal for less than two bucks?

After receiving a few letters like this, a curious person might wonder, why are so many rescue missions using this same pitch?

The easy answer: because it works. And for years, it’s been hard to beat.

Next question: Where did it come from?

That’s a story in itself . . .

It was nearly 40 years ago that my friend Gifford Claiborne was helping to raise funds for the Los Angeles Mission. Every Thanksgiving, the mission would host a big meal for the street people of L.A. (as it does to this day). To promote the event, the mission would run a small ad in the L.A. Times, typically with a big cross and the headline, “Jesus Saves.”

This time, Gifford decided to change the headline to “Please Help Us” and below that, “For $1.12 you can feed a hungry person at Thanksgiving.”  

Here, in his own words, is how he came up with the idea:

Well, I did an analysis. I said, “Give me your budget.” They gave me the budget. And I said, “We have to divide this budget by the number of meals we serve each day.” So, we multiplied the number [of meals served] each day and got the number for the month and the number for the year, so we knew. And then we divided that into what our costs were for feeding them. And it came out to $1.12.

The ad cost $80. They tracked the results and, lo and behold, it brought in $120.

Even more importantly, the mission gained eight new donors, who could be cultivated for years thereafter.

New donor acquisition—plus a net revenue gain! That was enough to warrant a repeat. Over the next few years, the mission under Gifford’s direction bought more, larger ads using the same strategy. Then they applied the same offer to direct mail campaigns, which were even more successful. Gifford then brought his talents to the Russ Reid agency, where he launched similar successful campaigns for many other rescue missions and Christian nonprofits.

When something works, people tend to emulate it. So, rescue missions around the country began using the same offer, often with the help of newly-spawned direct mail agencies that recognized its phenomenal success. Of course, the cost per meal has changed over the years and varies from mission to mission. But the basic idea has remained amazingly constant.

Today, that simple offer raises more than a billion dollars a year for rescue missions while attracting multiplied thousands of new donors. It works because it presents a clear proposition: Here’s something simple you can do that will meet a real, urgent need. And here’s the impact your donation will have—in precise numbers.  

The idea’s enduring success provides some good lessons for those of us working to raise funds for nonprofits today:

1. Don’t reinvent the wheel.
2. Keep the message simple.
3. Make the offer irresistible.
4. Show the donor exactly how her gift will make a difference.

Gifford Claiborne went on to launch successful fundraising campaigns for various organizations and continues to do so today.  He changed the way nonprofits—especially urban rescue missions—raise money. Today, countless smart, young agency professionals around the country are applying the methods he pioneered 40 years ago.

And most of them have no idea who he is.

# # #

Some time ago I had a client who’d written a book and wanted my help polishing it up. As I looked it over, I quickly realized he had a great story to tell. But he had approached it like a college term paper:

First, state the theme; then list the pertinent events one by one, in chronological order; then summarize.

It was about as exciting as, well, a term paper.

I suggested that instead, he should think of his story like a movie. There are certain things we’ve all come to expect in a good film. Filmmakers use proven techniques to draw us in and keep our attention—usually without our awareness. If we’re smart we’ll learn from them.

Here are seven cinematic devices that also work for the written word:

1. Start with action. Don’t explain. Just throw the viewers [readers] into the scene.
2. Choose a scene so intriguing or emotionally compelling that they can’t pull away. Think of your favorite movies. They probably begin in a way that makes you want to keep watching. You simply must find out what happens next, even if you’ve already seen it a hundred times! And before you know it, you’ve sat through the whole thing.
3. Enter the scene as late as possible. Skip the introductions, lead-ins, throat-clearing, and other distractions. (On that point, an old copywriter’s trick is to write a piece in the way that seems right—and then throw out the first paragraph or two. It will usually read better!)
4. Show, don’t tell. Screenwriters do this by using images in place of dialog or exposition. You can do it too. Instead of writing, “Mary was nervous,” how about: “Mary smiled, but her hands were sweating as she gripped her briefcase a little tighter.”
5. Provide some atmospherics. You can’t put music or sound effects into your written piece. But you can still describe the weather, the scenery, the background, and the action that’s happening around the subject. Paint a vivid picture for your readers.
6. Move fast. Modern films tend to use short scenes and quick cuts. That’s what viewers are used to. Your writing will benefit from a similar approach. You don’t want your readers to get lost—but you don’t want to bore them either. Keep your narrative at a brisk pace.
7. Think cyclical, not linear. Sometimes the best place to start a story is at the end—or in the middle. It’s okay to jump back and forth between present and past. Just make your transitions clear so you don’t lose your reader as you jump around.

Unless you’re writing a company’s policy handbook for new employees, chances are no one will be required to read your masterpiece. So, you have to make it interesting. Whether you’re writing a book, an email, a sales letter or a fundraising appeal, these approaches can improve your storytelling. People will be more inclined to keep reading—all the way to the end.

# # #

Why your appeals to donors over 60
could be turning them off

“Hi! How are you guys doing tonight? Staying cool? D’ya have a chance to watch the game today? Oh, just chillin’ with the family? That’s great. You’re looking good! By the way, I’m Todd. I’ll be serving you tonight. So hey, you look like you might be thirsty. How about some drinks to start off?”

You could walk into nearly any restaurant in America and hear this type of rap before you order. It’s a nice, congenial way for servers to loosen up their customers. But for people of a certain age (like me), it’s grating.

Why?

It’s too informal. We like a certain decorum when we meet people for the first time. And we remember when “servers” were expected to remain invisible—except when their presence was needed. You can still find that approach in fancy restaurants, but it’s largely a lost art.

Nowadays, that kind of informality shows up in a lot of communications—especially emails. I’m often addressed as “Bill” by people I’ve never met—which would have been a faux pas just a few years ago.

I’m used to it by now. I even do it myself. “Dear Mr. Davis” just sounds so … old-fashioned.

But “Hey, Bill?”

Too casual. Like kissing on the first date. (Well, not quite, but you get the point.)

As you’ve noticed, there’s a generation gap here. Communicators are often much younger than the people they’re trying to reach. So they don’t always realize how they’re being perceived.

In the nonprofit world, the most reliable donors tend to be part of the “silent generation”—folks who came of age in the conservative 1950s. But they’re gradually being supplanted by baby boomers—people born between 1946 and 1964.

Boomers inaugurated the casual style in American culture. (Think blue jeans, baseball caps, slang, rock and roll, etc.) It was all part of our rebellion against the stuffy environment we saw around us. But we still have memories of a more formal time. When I was growing up, we would always dress up to go out to eat. Or to get on an airplane. No one would dare show up at a wedding or funeral without formal attire. I never once saw my dad in blue jeans, much less a T-shirt.  We addressed adults respectfully, with formal titles. We used profanity among ourselves—but never around our elders.

So we can find today’s radical informality a little jarring.

Here’s another shocking truth—we all get more stodgy as we age! So don’t be surprised if your mature prospects are a tad grumpy.

One more thing you should know about us geezers: We’ve already heard every sales pitch known to man. Many of us have even been conned a few times by affable smooth-talkers. So we’re naturally wary—especially of people who are too friendly right away.

Whether you’re communicating digitally, through direct mail, or even by phone—here are five ways to smooth your path with the older set:

1. Introduce yourself

That doesn’t mean, “Hey, Bill. Jane here. I wanted to talk with you about your home’s equity.” (I received just this type of phone pitch several times lately. Needless to say, it didn’t work well.)

Excuse me? Jane who? What company are you with? That poor salesperson lost me before she had a chance.

The same rule applies to digital communications. If I visit your website, chances are I just want to find out who you are. Your full-screen images and dramatic headlines may be impressive. But don’t make me search all over to find your hidden “About us” page. Why are you hiding that?

A page dedicated to your leadership team is nice. But how about a physical address too? What are you, just a virtual company operating out of a basement?

These things matter—to us old-timers.

2. Mind your manners

A little arms-length formality won’t hurt. Don’t insult a prospect by getting too casual right away. And never imply that she’s ignorant, out of touch, or behind the times—even if it’s true. Imagine you’re speaking with your grandmother (or someone else you deeply respect).

3. Think linear

We didn’t grow up with Twitter, MTV or video games. Some of us even read books! That means we appreciate complete narratives that make sense. We’re as susceptible as anyone to the power of images and emotional appeals. But we’ll relate best to your pitch if it’s laid out in an orderly way that addresses our questions.

4. Get an editor

The sad truth is, many smart young communicators today are deficient in basic grammar. And we geezers tend to notice that. You’ll undermine your own credibility if your text is riddled with poor usage and misspellings (the ones spell-check doesn’t catch).

5. Use large fonts

Thank goodness, most current web design leans toward big fonts, big images—big everything.  But your direct mail pieces could be losing their effectiveness if you’re cramming in too much copy. You’ll inevitably resort to smaller fonts. And some of your prospects won’t read your pieces—because they can’t!

All that work, thrown into the trash.

Instead, say less. But say it bigger.

Remember these things as you reach out to your mature prospects. And watch your response rates rise.

#  #  #

Four keys to making your written
content more pleasant than a root canal

Imagine …

You’re exhausted from a long day at work. But now at last, you’re home.

So you kick off your shoes, pour your favorite beverage and settle into a comfortable chair. And you can’t help but smile as you begin reading … the latest company memo from the vice president.

No?

Well, why not?

The truth is, there are some things we only read when we have to. That includes anything work-related.  Not just because it’s about work. But because, most of the time, it’s also excruciatingly boring.

When we’re reading something we really don’t want to, we tend to skim, to get through it as fast as possible. That makes us likely to miss important things.

We may also be tempted to avoid reading it altogether. Haven’t you ever ignored an important email for days at a time—just because you didn’t want to deal with it? Or haven’t you relegated an urgent document to your Big Stack of Unread Papers—telling yourself you’ll get to it soon (but knowing you won’t)?

That’s human nature. We tend to avoid unpleasant experiences as long as possible. And there’s no app, technique, or office policy yet devised that can override human nature.

So if your job requires you to communicate with colleagues or subordinates, here’s your challenge: to make your notes, emails, announcements, memos and proposals more pleasant and attractive—so that people will, you know, actually read them.

Here are four tips to get you there:

1. Keep it short. Start by writing everything that’s on your mind. Then, go back and cut it down. Get rid of every unnecessary word.

Use short paragraphs. Like this one.

Short sentences too.  

Remember, before they read it, they have to look at it. And if what they see is a massive, unbroken wall of text, they’re likely to avoid it.

2. Make it clear. This can be trickier than it seems. You know what you’re thinking, but your thoughts may not make it onto the page. Go back and re-read what you wrote. Is there any way it could be misinterpreted? Is it cluttered with content that’s off-topic? Is there a clearer, simpler way to say what you mean?

There’s an old saying: Good writing is rewriting.  Professional writers know this and practice it. You should too.

Remember, you really only have two things to convey: what you want them to know, and what you want them to do. Make sure you spell both of those out in unmistakable terms. Everything else is fluff.

3. Write like a human. Imagine hearing this from your spouse or partner:

"The necessity of a visit to a place of commerce has been determined and will commence forthwith. A variety of grocery items and consumer goods will be purchased. Therefore, requests for additional purchases will be considered at this time."

You’d think it was a joke. Here’s another way of saying the same thing:

"I’m going to the market to get a few things. Want anything?"

That’s how real people talk. But for some reason, many of us abandon normal language when it comes to business. We think our words will carry more weight if they’re big and official-sounding.

The opposite is true. If you write in a simple, personal, even intimate way, your readers will be more likely to lean in and pay attention.

4. Apply the Golden Rule. Once you’ve finished your masterpiece, take another look at it. Imagine it showing up at your desk or inbox. Is this something you’d enjoy reading? If not, why subject others to it? Unless you’re using the workplace to vent your sadistic impulses, the Golden Rule is still a good guideline: Treat others the way you’d want to be treated.

Apply these four principles in your writing—and people will look forward to reading it.

#  #  #

You’ve probably heard the story. A reporter once asked bank robber Willie Sutton why he robbed banks.

“Because that’s where the money is,” Willie replied.

He later denied ever saying it, but the story had already entered America’s cultural mythology. So much so that medical students began learning “Sutton’s law”—the principle that the most obvious diagnosis is probably the right one.  

Willie’s words offer some wisdom for aspiring writers too—especially copywriters. Want to be successful? Go where the money is.

That is, if you want to make money, you have to work for people who have some.

Obvious? It should be. But how tempting it is to go after projects that have no realistic chance of paying off.

For writers just starting out, it makes sense to take some jobs pro bono to build a portfolio. But that can become a habit. Eventually, you have to decide that your work is worth something, so you should start insisting on a fair price.

Even experienced writers can be seduced by shiny objects and wind up taking a loss.

Here are three traps I’ve learned to recognize (yes, from sad experience):

The Charismatic Individual. This guy has always wanted to write a book. “I’ve got an incredible story,” he tells you. “Wait till you hear it! Some publisher will snap it up.” All you have to do is ghostwrite it. And by the way, he’s ready to spend $500! Then, once it’s published you could get royalties …

Or, he’s got an invention that’s going to revolutionize the … tech/financial/communications/organic farming/dry cleaning industry (take your pick). Wouldn’t you like to get in on the ground floor by writing some copy?

Or, he’s got a band that’s on the verge of breaking through … a new Internet marketing scheme …

You get the picture.

But few individuals have the deep pockets to sustain a real livelihood for someone else—even a great, talented writer like you. Proceed at your own risk.

The Promising Startup.  Sometimes smart, experienced people get together to launch a new business. They seem to have everything going for them. They’ve studied the market. The demand is there. They know that what they’re offering is unique. They’ve got the expertise to pull it off. And you get to write for them! Just be content with a few bucks now, and in the long run you’ll make out like a bandit.

Except, most startups fail. And not just the flaky ones. The marketplace can be merciless. If you look beyond the placid surface, you’ll see the landscape is littered with great ideas that flopped.

The Content Mill. One consequence of the digital revolution is that writing has become cheap—since people no longer have to spend money on printing and ink to make something public. So hacks and hucksters of all types are hungry to fill web pages with content.

You’ll find these “writing opportunities” by the dozens on jobs boards and online lists. Quality? That’s secondary. Many of these operators wouldn’t know good writing if it punched them in the nose. And of course, they pay next to nothing. So while they’re wasting your time, they do nothing to build your portfolio or qualify you for anything—except to work for other content mills.

 So, does that mean you should never take projects that don’t promise a reliable paycheck?

Not at all. But you mustn’t rely on them for all of your income. Instead, seek out established enterprises that have a solid product, service, clientele or donor base. Organizations that have been around a while, that have a strong revenue stream and a history of paying their vendors.  Those should be your meat-and-potatoes clients. Then you can afford to take on the occasional mad whim.

Because by then you’re already making a living.

And yes, by the way, you deserve it.

# # #

The secret motives that will drive people to open your direct mail package

For most folks, a trip to the mailbox is filled with emotion and expectation—both good and bad. They’re hoping there won’t be a delinquency notice or some other bad news. They might be expecting a check or some other thing of value. They might even be hoping to find a letter from a family member (probably not).

In any case, they know they’ll have to sort through lots of clever offers and solicitations—the junk mail—to get to the important stuff.

So, in the midst of all the noise and distraction, how do you get someone to take note of your mailing—and actually open it?

You already know the answer, because the factors that motivate them are the same ones that motivate you.

Here they are:

Familiarity. If a person is already accustomed to interacting with your organization, congratulations, you’re in! They’ll probably take the time to at least look at what you’ve sent them.

Now, just don’t blow it by:

• Offending them
• Boring them
• Letting them think they’re looking at something they’ve already seen

That last part is tricky, because you want to present a consistent brand image while conveying that this mailer is something completely new—so they’d better read it. That’s where a good envelope teaser comes in. Give them a hint of the compelling news that’s inside. Make it irresistible.

Expectation of benefit. This is also tricky, because people are jaded. They’ve seen all the free cruises and exclusive dinner invitations—and they know there’s a sales pitch hiding in there. I don’t even bother opening those mailers anymore. Do you? But I’ll tell you what gets me every time—personalized address labels. I know I’ll use them, so I open the envelope. And I’ll usually read at least part of the letter. Give your prospects something of immediate value—even if it’s only a small value. They’ll open the letter. The rest depends on your amazing offer.

Fear. “FINAL NOTICE!” Does that get your attention? It might be your last chance to take advantage of a great offer—or it could be from a creditor about to file a lien against your home. Either way, it might just be scary enough to make you open the envelope. On the other hand, when you find out it’s just another pitch, you’re liable to get angry and toss it. The envelope that’s designed to look like an official government document can provoke the same response. But fear is, and always will be, a strong motivator. You’ll have to decide whether it’s the right one for your product.

Curiosity. The blank envelope. You know it’s probably just another sales pitch. But you can’t be sure. So you open it.

Or, the envelope with an intriguing teaser. It piques your interest just enough to rip it open and see what it’s all about. After all, it will only take a few seconds …

Both approaches can work—or not.

To tease, or not to tease?

That is the question. Fundraising expert Gifford Claiborne says, “There’s a lot of research that says just a blank envelope will out-pull one with teaser copy.” He should know. He’s been testing this stuff with nonprofit mailings for about 50 years.

Stephen Hitchcock addresses the same issue in his book, Open Immediately: Straight Talk on Direct Mail Fundraising—What Works, What Doesn’t and Why. And as the title promises, his take is straightforward:

Most teasers are about as useful as an 8-track tape—without an 8-track player. That’s because a lot of organizations keep forgetting how intelligent and sophisticated donors are. If they’ve heard about your organization or if your organization’s name sounds like something they’re interested in, then donors open your envelope. Absent those factors, no amount of screaming or no degree of cuteness will save your package from the recycling bin.

There’s that familiarity factor again. It doesn’t offer much hope for organizations seeking to acquire new donors or customers.

But then Hitchcock follows with a caveat:

Of course, there are exceptions.

A truly creative or brilliant teaser—one tied forcefully to the central concept in the letter—can sometimes work well. That’s especially the case if there is a true crisis or emergency about your appeal.

Hitchcock also notes another interesting discovery from his own testing:

Membership or annual renewal notices appear to generate a higher response when the renewal process is telegraphed on the outer envelope.

That makes sense. We’re all programmed to be on the alert for expired memberships. No one wants to call the Auto Club for roadside assistance—only to find out their membership expired last month.

Here’s a good test for any mailing—one that’s easily overlooked. Imagine that you’ve just found the letter in your mailbox. Do you open it, or not? If you wouldn’t, why would you expect anyone else to?

Make sure you’re appealing to one of the motivators mentioned above: familiarity, expectation of benefit, fear, or curiosity. Then, once you’ve got their attention, hit them with an offer they can’t refuse.

Here’s to your successful direct mail campaigns.

# # #

How a bunch of dots and squiggles can sink or save your written copy

I had just created a nice webpage for my boss, complete with some hard-hitting bullet points. He printed a screenshot of it and later came over to congratulate me.

But when I looked at the printout I saw a bunch of places circled in red.

Uh-oh.

“You put a period after some of the bullet points, but not others,” he pointed out. “Shouldn’t we be consistent?”

Of course, he was right. In creating my amazing work of copywriting genius I hadn’t paid attention to the punctuation—or lack of it—in my bullet points. But he noticed it. I should have, too.

So, what are the rules of punctuation for a copywriter, anyway?

In school, most of us learned rules to give our sentences proper form and clarity. But in copywriting, we’re encouraged to throw the rules out.

Well, maybe not all of them. But our objective is different, so the rules are different. For copywriters, every keystroke is meant to keep the reader interested and ultimately motivate her to act. In that light, the words matter—but the periods, commas, dashes and exclamation points do, too.

Punctuation is like a road sign. It can subtly signal the reader to:

• Stop (period, paragraph)
• Keep going (comma, ellipsis)
• Watch for something important coming up (colon, ellipsis)

We usually don’t want the reader to stop. But sometimes we need him to focus on a particular word. Or phrase. So we put a period on it. Even if it’s not a complete sentence.

We might even give it its own paragraph for special emphasis.

That’s one way of using punctuation to keep the reader engaged. There are more.

What’s an ellipsis, anyway?

In normal writing, the ellipsis (…) indicates that something has been omitted:

“Oh say, can you see … what so proudly we hailed …”

Or, it can signal a pause:

“Well, I don’t know …” He stared out the window for a long minute. “… Maybe so.”

But copywriters can use an ellipsis at the end of a paragraph to tell readers that the thought is not finished …

There’s more coming …

So, they should keep reading …

I’ll also use the ellipsis at the end of email subject lines—because I want readers to feel they must open the email to finish the sentence. A cheap trick? Sure. But it works.

What about those dashes?

The em-dash is a good way to separate a thought within a sentence. (It’s called an em-dash because it’s the same width as the letter M. Now you know.) It can serve the same function as a comma setting off a phrase or subordinate clause—but it’s more dramatic. And I always want drama in my writing.

Nowadays the em-dash is often used instead of the stuffy, old-fashioned colon:

Rutabagas—they’re good for you.

I also like the em-dash because it mimics the way people actually talk:

I paid less than wholesale—by the way, you could probably get the same deal—so anyway, it was worth it.

(And parentheses?)

Direct mail wizard Denny Hatch addresses these things in his timeless book, Write Everything Right.  According to Denny, parentheses create distance, so they should be used carefully. They’re helpful when you want to downplay something:

(Individual results may vary.)

But they can also convey exclusivity:

“Original issue price (for our preferred members) just $99.50”

I like to use parentheses to convey a sense of confidentiality: (Pssst—what you’re reading now is private!) That can increase the reader’s involvement.

But all this comes with a warning …

Stop, already

Needless to say, all these critters can be overused. And then, instead of prodding the reader to keep going, you’re just annoying him. (Personal confession: Along with commas and colons, I tend to overuse the em-dash—as you’ve noticed. So I have to discipline myself to avoid that. Discipline—that’s the thing!)

Other overused devices:

“Quotation marks.” In general, don’t use them. Unless you’re actually, you know, quoting somebody.

Exclamation marks!!! They’re reserved for real exclamations:

My hair’s on fire!

Your hair’s on fire!

Walmart has women’s flip-flops at 50 percent off!

And never use more than one. Readers will get the point. No one likes to be shouted at.

So, learn the rules. And then throw them out. Or rather, use them shrewdly. Strategically. Effectively.

Oh, yes—what is the rule for punctuating bullet points? I’ve never found a style guide for this so I just apply what I learned in sixth-grade English class: If it’s a complete sentence, use a period. If it’s not, don’t.

Simple, right?

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How to make sure they read your copy
 all the way to the end

Picture yourself at one of those big waterslides—the kind you find at a summer amusement park.

You’re at the top, looking down, not sure you really want to do this. But there’s a bronzed and brawny teenaged attendant standing there waiting for you to make up your mind. So you go.

Fear turns to exhilaration as you plunge helplessly down a slippery chute, careening this way and that. As you speed downward, you find yourself smiling. Then chuckling. Then laughing out loud.

And then, sploosh! You’re dumped unceremoniously into a big pool.

Soaked and shaken, you gather your dignity and stagger toward the steps. And you have to admit—that was fun!

That’s what good written copy is like. The reader might hesitate at first, but once she starts, she finds it impossible to stop. And to her surprise, she finds herself enjoying the ride. Then suddenly, she’s at the end. That’s when you present your call to action—asking her to mail a check, click the box, visit the landing page, enter her credit card info, or whatever you’re hoping she’ll do.

But she’ll never do it if she gets bored or distracted halfway through.

So, how do you make your reader’s journey as fun and effortless as a ride down a waterslide?

Well, first, focus on that word fun. No one wants to read something dreary and tedious. We had enough of that in school. There, we read boring stuff because we had to. But no one has to read your copy. They can just as easily put it aside and go check their email or turn on the TV. So respect their freedom to choose, and make your piece irresistible. Try to keep it light and lively. Use short sentences. Make it fun.

Of course, if you’re highlighting the plight of hungry children in Bangladesh, fun doesn’t work. So, how about gripping? Captivating? Heartrending? You can do that.

The next adjective to notice is effortless. The waterslide experience is appealing because you don’t have to do anything but sit down. The slide takes you from there. In the same way, once you start reading good copy, finishing it is easy. You’re skeptical at first. You tell yourself you’ll just read the first sentence or two, to find out what it’s all about. After all, you’ve got a thousand other concerns vying for your attention. And then, to your surprise, you find yourself plunging farther and farther down the page. Before you know it, you’ve read the whole thing. And you’re entertaining a proposition you never would have considered before.

That’s where the power of a good story comes in. We all love stories. They capture our attention, even when we don’t want them to. You doubt that? Think of those tabloids at the supermarket checkout stand. They’re filled with stories—sordid, tragic, lurid, unbelievable stories. And no matter how we try to ignore them, they draw us in, at least for a few seconds till it’s our turn to check out.

Tell your reader a good story. It doesn’t have to be lurid or sensational. But it must be compelling. And it must have a human face. A story told in the first person is ideal. But as long as it’s human, dramatic and personal, people will be attracted.

And that brings us to the end—literally. You made it all the way through, didn’t you?

Congratulations. You’ve absorbed the first principle of good copy.

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