blog

“The Curse Of Knowledge”

startrek_spock

People who know a lot about certain subjects are particularly susceptible to the Curse of Knowledge.

You could be suffering from “the curse of knowledge” and not even know it.

(There’s irony for you, huh?)

The term “the curse of knowledge” was coined by Chip and Dan Heath in their book Made to Stick: Why Some Ideas Survive and Others Die. It occurs when you know something so well you mistakenly assume others know it.

It gets worse with time too. The longer you’ve known something, the harder it becomes to imagine others not knowing it.

But here’s the worst thing about the curse of knowledge: It stops communication dead in its tracks. It causes you to confuse, bore and even alienate your audience.

That’s why marketing professionals must always be on guard against it.

Here’s an example of how it can happen (it’s a domestic scenario, but it applies to professional communication as well):

I enjoy figuring out songs “by ear” on our piano at home. One day my wife, who also plays a bit, asked me to show her how to do it. (She mostly just plays songs from sheet music.)

“Oh, it’s easy,” I said. “Just listen to the bass line; it’s usually playing the root. Then you just have to figure out if the chord is major or minor.”

I droned on for a few seconds after that, happily explaining my method, until I noticed that her brow had furrowed.

“I don’t get it,” she said. “What’s a root?”

The curse of knowledge had struck.

I’d mistakenly assumed we knew the same stuff about music. But, unfortunately, no one had ever taught her any music theory. So when I launched into that “root,” “major” and “minor” bit I lost her. Plus I felt like a schmuck.

Of course, when the communication is just between two people the curse of knowledge is easy to overcome. One person just says, “Hold on, I don’t understand. Could you explain that?”

But when we’re speaking to a mass audience, as we do when we’re marketing a brand or product, we don’t have the benefit of immediate feedback that lets us correct things. We have to be clear the first time. There’s no one to say, “You’re talking over my head” if our message bores, confuses or overwhelms our audience.

Picture a minister addressing his congregation. If he forgets that his flock hasn’t attended seminary, he might start peppering his sermons with obscure biblical references that would sail past most of his listeners. Too much of that and they’ll tune out, fidget or fall asleep. But if he remembers to keep it simple – even his Boss spoke in parables – he keeps them engaged.

If we’re going to engage people with our message, and avoid being stung by the curse of knowledge, we need to do the same.

—————

Related Links

http://www.businesspundit.com/the-curse-of-knowledge-why-communication-at-work-is-sometimes-difficult/

http://www.idratherbewriting.com/2007/01/24/the-curse-of-knowledge-the-more-you-know-the-worse-communicator-you-become/

 

Cartoons have gotten a lot smarter.

Adventure Time

Adventure Time characters

The other day I asked my 14-year-old daughter what “Adventure Time” was. (She has a couple of T-shirts that say “Adventure Time” and have wacky little characters on them.)

“It’s a show,” she replied (in that way teenage girls have of wanting to keep something secret yet implying you’re incredibly out of touch for not having heard of it).

“Is it for little kids?” I asked. (The primitive randomness of the characters on her T-shirt seemed tailored to an audience of 3-year-olds. I figured she was wearing it just to be ironic, the way all the kids have lately glommed onto “My Little Pony.”)

“No, it’s funny,” she objected. “We all watch it.” (“We” being herself and the Greek chorus of giggly, shrieky girls with whom she has surrounded herself.)

“So and so’s parents watch it too,” she added, as if to further emphasize my squareness.

The gauntlet had been thrown down. (For those of you under 30, that’s a medieval challenge analogy.) It was time I found out what “Adventure Time” was all about.

So I watched an episode. It was only ten minutes long. But that’s good, because if it had been longer I might have passed out from laughing.

It was really funny. And clever. And, like the characters, randomly wacky.

There were unicorns. There’s a talking dog that’s all stretchy and stuff. And there’s a little vampire girl who feeds on the color red instead of blood and plays a mean bass guitar.

The show, as it turns out, is also big hit and has been on for, like, four years. (Okay, Dad’s a little slow.)

But now I get it. I’m 100% on board with “Adventure Time.” In fact, I’m also on board with “Phineas and Ferb” and a bunch of other cartoons that I’ve discovered are a lot more sophisticated – and much funnier – than the ham-fisted, slapstick stuff cartoon stuff I grew up with. (Seriously, how many times can you laugh at a bowling ball dropped on a foot or an anvil falling on a coyote’s head?)

I’m not sure what to attribute the improvements to. It’s likely that making the humor interesting enough for adults as well as kids to enjoy improves viewership. Maybe the competition of numerous cartoon channels requires a show to be a cut above to be successful. Maybe kids have developed a taste for more sophisticated humor (Zack & Cody notwithstanding). Whatever the case, it’s a positive development.

Out of appreciation, I might even get my own “Adventure Time” T-shirt. (Plus, it’ll be fun to watch my daughter roll her eyes and sigh with embarrassment if I ever wear it in public.)

How limitations can actually fuel creativity

TheEdge1987Any U2 fans out there?

Do you know that song of theirs where the guitar player, Edge, has that really fast solo? The one where he’s burning up the guitar like Eddie Van Halen?

Just kidding. There’s no such song.

Edge doesn’t play flashy “guitar hero” stuff. In fact, he could barely play at all when the band started in 1976.

But Edge didn’t let his lack of traditional guitar chops stop him. Instead of bemoaning what he couldn’t do, he made the most of what he could.

As it turned out, his limitations proved to be a huge asset because they forced him to take an entirely different approach to playing the guitar:

• Rather than try to play lots of notes, he’d only play a few.
• He experimented with echo (lots!) and reverb to get cool sounds and textures.
• He used unconventional fingerings and left some strings “open” so they could ring out for a “bigger” sound.
• He avoided anything bluesy or minor-sounding, which made the band’s music “brighter” and gave it a kind of youthful exuberance.

The result of all this was that he ended up creating a completely original sound and style of playing, something every bit as identifiable as Bono’s voice and equally crucial to the band’s success. It’s a style that continues to inspire musicians to this day. (Edge explains his creative process in Davis Guggenheim’s 2008 documentary It Might Get Loud, which also profiles Jimmy Page and Jack White.)

Now imagine for a moment if, back in 1976, Edge had said, “Well, I’ll never sound like Jimi Hendrix or Eric Clapton, so forget it.”

There’d be no “Where The Streets Have No Name” or “Beautiful Day.” I know my world would be less rich if those songs had never been written. Yours too, I imagine.

The lesson here, then, is pretty obvious. If you have a passion for something, don’t put it on the shelf because you don’t think you’re “good enough.” Don’t compare what you can’t do to what someone else can. (Comparison is the thief of joy.) Do your own thing and let it be unique. Whether it’s making music, writing a poem, designing clothes, creating a new vegetable soup recipe, building a table or painting a picture — do it. If you’ve got the desire, that’s more than most. Put yourself out there and see where your passion and your own distinctive approach will take you.

 

 

How Amy designed a charming book cover

Amy Wessel, a graphic designer on our staff, recently had the opportunity to put her skills to work designing the cover for a self-published book by a local author, Mary Kay Mayer.

The book – entitled From Diapers to Dresses: How a mother’s past helped to shape her daughters’ futures – chronicles how the author used her grandmother’s folk wisdom to guide her parenting decisions and to convey important life lessons to her three daughters.

Amy describes her experience with the project:

Mary knew from the start that she wanted the main focus of the cover to be a dress that her grandmother had made for her. So I developed several ideas that centered around the dress and Mary chose the one she liked best.

Along the way, we discussed incorporating additional prop items and personal photographs into the layout, but in the end we decided to keep it simple and just use the dress.

Mary liked the idea of using an illustration rather than a photograph of the dress. As the book is intended for moms, not children, I was concerned about any illustration that appeared too “childlike.” So I used a combination of photography, hand illustration and Photoshop brush techniques to produce an image that has a childlike quality but is still firmly rooted in reality.

The background colors were chosen to complement the colors of the dress. The font combination was chosen to convey a whimsical yet sophisticated feeling.

The book is available at amazon.com here.

A bit of cool Christmas trivia…

Ghost of Christmas Present

I’ve always enjoyed getting to the root of Christmas traditions, and seeing how they were shaped over time.

Here’s an interesting thing I recently learned (and thought was cool enough to share).

Charles Dickens’ description of the Ghost of Christmas Present wasn’t just a random characterization. It was actually a representation of the English “Father Christmas,” who himself was patterned after a variety of mythical characters, including, most notably, Bacchus, the Roman god of wine and revelry.

Bacchus

You’ll notice from the depictions here that Bacchus, Father Christmas, and the Ghost of Christmas Present are indeed pretty similar. You can click the highlighted text links above to learn a bit about each.

And may God bless you, every one.

Father Christmas

 

 

 

One gift stands out at the Christmas party.

At our annual Christmas party we always do a lottery-style white elephant gift exchange, with presents ranging from semi-useful to quickly-discarded.

A few examples:

• Leftover promotional T-shirts from a decade ago

• VHS tapes of Star Trek: The Next Generation

• Books on subjects no one cares about except the author

• A toy from a Burger King fun meal

• A used gym bag

• Halloween candy from ALDI

• A deep fryer (practical, but quickly returned by the recipient due to an inordinate fear of cholesterol)

The real gift that this little event provides, however, is the opportunity to relax and share a few laughs together as a team, and to salute each other for all the hard work throughout the year.

That’s the one to look back on and remember.

Three Rules of English that good copy frequently breaks (and why it’s necessary to do so)

You’ve heard the saying, You have to know the rules before you can break them.

It’s absolutely true when it comes to advertising copy.

Writing a good ad (or any marketing message) requires you to understand sentence structure, punctuation, grammar, etc.

You, know…all the stuff crotchety Mrs. Schneider drilled into your head in high school English class. Or tried to.

But readable copy often breaks Mrs. Schneider’s beloved rules.

In fact, for copy to be “conversational” in tone, breaking them is practically a requirement.

Why? Because people break the rules all the time when they speak.

So you’ll need to break some rules too…if you want your message to be perceived as one human speaking to another.

This doesn’t, however, give us license to butcher the king’s English. The rules we can break are limited to a mere three.

Here they are, along with justification for breaking them:

1. Never begin a sentence with a conjunction (such as “and,” “but” or “or.”).

Copywriters break this rule all the time. And with good reason. Conjunctions provide a connection between two thoughts. But in speech people don’t always connect those two thoughts in a single sentence. They often split them up. And since copywriters strive to write in a way that mirrors the way people talk, it’s natural to do the same in copy.

But that’s not the only reason for putting an “and” or “but” at the beginning of a sentence. Doing so also lets us chop long sentences into two shorter ones that are easier to read.

Take this one, for example:

Going to the movies is a favorite pastime of many Americans, but the price of seeing a movie, combined with their poor quality of late, has many people opting to stay home.

It’s not exactly a run-on. Still it can be made a little less daunting for the reader if it’s divided in two.

Going to the movies is a favorite pastime of many Americans. But the price of seeing a movie, combined with their poor quality of late, has many people opting to stay home.

It’s a minor change, yes, but it makes the copy just a little easier for the reader. And every little bit helps.

2. Write in complete sentences, not fragments.

Complete sentences are great for annual reports and college term papers, but adhering to this rule in copywriting can lead to stiff, unnatural-sounding copy and dull, run-on sentences, such as this example:

Established in 1911 by brothers Bob and Frank Widget, Widget Investments is a respected global player with holdings around the world, a stake in numerous established business enterprises, and assets totaling $100 billion, all driven by a philosophy that always keeps us striving to reach higher, acquire more and do better.

Who’d want to wade through all that? Shorter sentences and liberal use of fragments make the message more palatable:

Widget Investments was established in 1911 by brothers Bob and Frank Widget. Today it’s a respected global player. One with holdings around the world. A stake in numerous established business enterprises. And assets totaling $100 billion. All driven by a philosophy that keeps us striving. To reach higher. Acquire more. Do better.

Ah, that’s better. The spaces between sentences give the copy – and the reader – a chance to breathe. So unless your readers positively adore lengthy Dickensian prose, opt for shorter sentences and fragments as necessary.

3. Don’t use slang.

Use discretion when breaking this one. It’s true that copy directed toward a particular audience has to speak their language. And sometimes that means adopting their lingo. But be warned: Don’t attempt this unless you’re sure you can pull it off. Nothing kills credibility faster than getting caught trying to fake authenticity.

So let’s say you want to announce to an audience of tech-savvy 20-somethings that your company has just developed a new application for the iPhone. You’ll have to judge whether it’s wiser to 1) describe the features and benefits of this outstanding iPhone application or to 2) give ’em the 411 on this killer iPhone app.

Likewise, you can decide whether it’s better to tell a hip youth audience that you’re going to 1) offer them some free merchandise or that you’ll 2) hook them up with some freebie swag.

You feel me?

As in all cases of rule-breaking, good judgment should be used. The goal isn’t to see how many rules you can break, it’s to make the communication as effortless as possible. So take some creative license, just don’t abuse it.

Why having a great tagline is so important (and having a lame one is self-defeating)

Great

As a word guy I’ve always been intrigued by taglines…how a handful of words could encapsulate the essence of an entire brand.

Even as a kid I thought they were cool. I liked knowing that G.E. was where they would “bring good things to life.” That Pizza Hut was where you could “let yourself go.” That you could feel “The Heartbeat of America” in a Chevrolet. And I took comfort in knowing that “when it absolutely, positively had to be there overnight,” Federal Express was fueled and ready.

Such is the power of a well-crafted line of copy. (Of course, millions of dollars in advertising helps too.)

Sometimes that line of copy is a single word (Coke just used “Always” at one point). But typically it’s two to six. (Making a strong case for your brand with just one word can be a little dicey.)

So what are the guidelines for writing a tagline?

Great

At our agency we believe a tagline must be:

• Simple
• Concise
• Memorable
• Easy to say
• Appealing to the human being reading/hearing it
• An accurate representation of the brand promise

Beyond that, it’s wide open. Depending on the brand, a tagline can be stoic, straightforward, heartwarming, humorous, whimsical, sexy, provocative, inviting, dramatic, open-ended or specific.

A well-crafted tagline that resonates with an audience can anchor a brand’s marketing efforts for years, even decades.

Not great

Just for fun, see if you can name the brand these phrases go with:

  1. Think Outside the Bun
  2. Get the door. It’s ______.
  3. I’m lovin’ it.
  4. When you’re here, you’re family.
  5. Let’s Build Something Together
  6. More saving. More doing.
  7. It’s everywhere you want to be.
  8. Better ingredients. Better pizza.
  9. Eatin’ Good in the Neighborhood
  10. That was easy.

Okay, now for the lightning round. Here are some classics:

  1. Like a Rock.
  2. The quality goes in before the name goes on.
  3. Don’t leave home without it.
  4. Have it your way.
  5. Finger lickin’ good.

(If you’re stumped on any, the answers are below.)

How’d you do? Did you know the brand associated with the line? Or had you heard the line but couldn’t quite identify the brand it went with? Were any completely unfamiliar?

Although it’s not entirely fair to judge a tagline outside the context of an adjacent logo or brand environment, how well the taglines above resonated with you can give you at least some insight into their effectiveness.

Which ones above achieved any/some/most of the following?

• Made an emotional connection
• Encapsulated the user experience
• Differentiated the brand from others
• Reaffirmed the brand promise
• Conveyed smart thinking
• Staked out territory, category niche
• Described/clarified the product or service
• Acted as a call to action

Naturally, no phrase can do all of those. But good ones can do more than one.

Over the years, we’ve had the opportunity to work on a few tagline projects:

• “The Seal That Solves It” – for NAPA Gaskets by Fel-Pro
• “Made to Fit. Built to Last.” – for MTD Genuine Factory Parts
• “As Good As I.T. Gets” – for MRK Technologies (a local information technology company)

They use phonetic/mnemonic devices such as alliteration, parallel structure or just a slight twist of a familiar phrase to help them “stick” in the reader’s mind.

Two of them continue be used. The third had a run of several years. (All of which is great, because it means they did their job.)

Of course, there are plenty of taglines out there that don’t work. They leave no impression and are easily overlooked, forgotten or mistakenly associated with another brand.

It’s usually because they’re guilty of one or more of these mistakes:

• Blandness – no reason for anyone to remember it
• Boastfulness – off-putting self-aggrandizement
• Clunky – hard to say, no rhythm
• Triteness – saying what everyone else has said
• Silliness – misplaced or unfunny attempts at humor
• Stating the year founded (e.g., “Since 1910”) – says nothing except that you’ve managed to exist

Taglines that fall victim to the above will almost always fail to connect.

But when a tagline works it’s a powerful tool. One that can anchor a brand’s marketing efforts for years to come.

(This link will take you to a site where you’ll find dozens of well-known taglines and advertising slogans arranged in alphabetical order. Although it’s not particularly current, it’s still very enjoyable to peruse. And what it lacks in timeliness it more than makes up for in volume.)

Tagline quiz answers:

  1. Taco Bell
  2. Domino’s Pizza
  3. McDonald’s
  4. The Olive Garden
  5. Lowe’s
  6. The Home Depot
  7. Visa
  8. Papa John’s
  9. Applebee’s
  10. Staples

Classic tagline quiz answers:

  1. Chevy Trucks
  2. Zenith televisions
  3. American Express card
  4. Burger King
  5. Kentucky Fried Chicken

 

A lighthearted look at why some ads work and others don’t.

The cover of one of the best books I’ve ever read on advertising features a drawing of an oversized frog sitting atop a bright pink pig.

The pig is wearing snorkel gear and flippers.

It’s a silly visual meant to illustrate the absurd limits to which people might go for an “original” ad concept.

You can imagine a marketing manager being presented with it and exclaiming “That’s our new ad campaign…?”

Which just happens to be the title of the book.

“That’s our new ad campaign…?” by Dick Wasserman is a great resource, as the subtitle states, “for CEOs, Presidents, Ad Managers, Account Executives, Art Directors, Copywriters, Students, and Anybody Else Who Wants to Learn Howto Create Better Ads.”

(If you’re reading this, you’re at least one of those people, right?)

It’s a book that gets right down to the basics: What makes good ads good and bad ads bad; how to achieve the former and avoid the latter.

Although it’s a perfect primer for folks just starting out in the business, there’s plenty in this book for seasoned professionals too.

Here are three (of many) reasons you’ll want to read it:

1. You’ll learn useful stuff (or at least better ways to articulate what you already know).

Stuff like how to judge the merits of a creative concept. Why ads should be more like plays and less like speeches. And why what an ad implies – intentionally or otherwise – is as important as what it actually says.

Sure, some of this is fundamental. But let’s face it, many people working in advertising and marketing began their careers in a different area altogether; some of these lessons may be things they’ve never formally learned. They’re lessons well worth hearing.

2. You’ll enjoy reading it. (Again and again.)

Wasserman infuses his book with a lighthearted tone that makes it a pleasure to read. Even some of the chapter titles induce chuckles, most notably Chapter 9: To Arms, To Arms! Every Man Look Sharp! That Damn Agency Is Asking Us to Trust Its Intuition Again!

But just as fun as the writing style is the illumination the book provides, especially regarding the way consumers and advertisers respond to ads. Wasserman pulls back the curtain on the human mind, unveiling why ads with a sense of “drama” are so effective (pages 7–9). He delves just as deeply into the fear factor that makes advertisers reluctant to approve any idea deemed too “different” (page 42).

3. The chapter called “Some Good Examples of Bad Advertising” is alone worth the price of the book.

In this chapter the author has created a series of print ad concepts for a fictitious advertiser (“The Widget Group”). These funny little thumbnail sketches perfectly illustrate common mistakes advertisers can make – such as trying to say too much, lack of drama/tension, and failing to communicate on a personal level. By taking note of these examples, advertisers can avoid falling victim to trite, banal ad concepts. Agency folks will find this chapter a valuable resource for steering clients away from tired ideas.

Here are a few more pearls of wisdom from Wasserman’s pen:

On simplicity: “Making an ad try to say more than one simple thing at a time is like inviting two people to give a lost driver directions at the same time.”

On the hazards of “safe” advertising: “The risks involved in trusting (your agency’s) judgment are small when you consider the risks and economic waste involved in paying for advertising that nobody notices or remembers because it looks just like everybody else’s advertising.”

On agency account executives: “A good account executive…should be encouraging your firm to accept more innovative, provocative advertising. This means…he’s always going to be bugging you a bit. If he’s doing his job, you will sometimes find him irritating.”

I’m convinced that if everyone involved in creating and approving advertising would read this book, the quality of advertising in America would increase tenfold. So by all means give it a read. It’s as entertaining as it is enlightening.

(Although this little gem is currently out of print, it’s well worth the effort to find a copy – which you can do easily at your library or amazon.com).

 

 

 

Then their eyes were opened…

It takes a certain vision to recognize the potential in a “risky” or unconventional idea.

Check out this story about a local pastor who literally lit up when someone suggested an unorthodox idea for a Bible study.

This story appears in the May 2012 edition of Cleveland magazine.