Posted by: Clayton Makepeace
February 6, 2006
Issue #29

You Ask I Answer Part One

• The Questions About Copywriting I Get Asked Most Often …
• How to Ramp Up Your Productivity and Creativity …
• And much, MUCH MORE!

Dear Business-Builder,

Many years ago – in 1983 or ’84 as I remember, I met the great copywriter Gary Bencevenga for the first time on the phone. I had more than I could say grace over, and had hired Gary to help me on a new package for The Money Advocate.

And on that phone call, as we compared notes about our trade, Gary said something I’ll never forget: “I can generally write better than anyone who writes faster,” said Gary, “and faster than anyone who writes better.”

Now, if you know anything about copywriting, you know that Gary is one of the greatest copywriters the world has ever known. So, I thought, “Gee – maybe I should try writing slower!”

So, on my next project, I really tried to take my time – and think my way through the copy — the way I thought Gary might think his way through.

I sucked at it.

I got bored. Distracted. Unfocused. And finally, had to force myself back into the copy and finish up like I usually do. Fast.

And so, we come to the first principal of the copywriting process: Do whatever works best for you!

There’s no right way or wrong way to approach the task of writing sales copy. Each of us has our own process. And that process generally reflects our personalities, our life situations and our talents.

Nevertheless, I have been doing this for some 34 years — and may have learned a trick or two that could help you get more done in less time.

Younger copywriters often ask me questions like these …

“How do you feel about
writing in general?”

I love writing.

Some guys and gals do this because it’s the best way they know to make a living. I write because I love to.

To me, copywriting is a game. Kind of like constructing a jig-saw puzzle that I get paid to put together. My client sends me his product, premiums, testimonials, press clippings, track record, and scores of other small pieces of the puzzle. I get to put it all together to form a beautiful picture. That’s fun!

Weekends and evenings are hard for me. I know my brain needs a break and that I need to get my butt out of the chair, spend time with friends and family and get some fresh air.

If there’s plenty to keep me mentally occupied, that’s fine. But if not, I often find myself looking forward to getting back to it first thing Monday morning — or even sneaking away, slipping into my office and tinkering with whatever project I was working on when I quit work for the day or week.

Vacations can be great, so long as there’s plenty to do and no time to think about work. A couple of years ago, I took my family to the beach for a few days. At 4:00 in the morning I could be found in my car, on the cell phone, laptop open, reviewing a draft with a client who I knew was as much an insomniac as I was.

What’s that you say? I must be a workaholic? How could I possibly be? I’m not working: I’m playing!

I love the mental challenge of the jigsaw. I love the challenge of helping a small company get big, help a big company get bigger, or figuring out a way to help a client who’s struggling.

I love the ego boost of beating a strong control that was written by someone I respect — and then constantly cranking out new test versions to keep it winning against all comers.

And I love the adrenalin rush of “riding the rocket” when a powerful control shoots for the moon.

And boy, do I hate losing! When I write a bomb — and believe me; I have, and not so long ago, either — I’m emotionally devastated. It’s the hardest thing in my business life.

“When do you do your best work?”

When I first wake up in the morning. That’s when I seem to be at my most creative and find it easiest to solve problems.

I learned this years ago, after having read something about Thomas Edison. Whenever Tom was stumped for a solution to a problem, he’d take a short catnap. His staff, of course, thought he was just sleeping on the job. Wrong. Tom was doing some of his best work — snoring, with his eyes shut. And when he awoke, 15, 20 or 30 minutes later, VOILA! — he’d have the solution he’d been looking for.

According to the author, your subconscious is a lean, mean problem-solving machine. But your loudmouth conscious mind is always getting in its way. How do you shut it up and let your subconscious do its miraculous work?

You go to sleep, thinking about the problem you want your subconscious to solve for you. When you are asleep, your conscious mind is catching ZZZZs, too. So it has no idea how much work its better half — the subconscious — is getting done without it. And when you wake up, you’ll have your answer.

I’m lousy at taking naps during the day. Usually, I just lay there, staring at the ceiling. But when I turn in at night, I only look like I’m simply drifting off to sleep. More often than not, I’m mentally reviewing the copy I wrote that day … and thinking about the things I want my brain to solve for me while I snooze.

Then, to make sure I get the full benefit of the work my subconscious did for me, in the morning, I …

1. Stand up, stretch and throw on my work uniform: Usually shorts, a sweatshirt and slip-on shoes …
2. Navigate down the dark stairs, being careful not to step in the middle of Smokey, the morbidly obese cat …
3. Step out onto the deck, making as much noise as possible so as to scare away any bears that might be lurking around the trash cans …
4. Trudge the 30 feet or so down the path to the lawnmower shed I use as my home office … get the Starbucks brewing … sit down at the computer … close my eyes and think about what I thought about when going to sleep … and then tap out whatever springs to mind.

Sometimes, what falls out of my fingers over the next five minutes is … well, rubbish. But other times, it astounds me.

More times than I can count, my subconscious has reorganized my copy for me … given me two or three new headline ideas … suggested phrases that say in two or three words what I had been using a whole paragraph to say … identified a problem I need to correct … or identified the missing link in a chain of logic I had been following.

If you haven’t tried this, I strongly suggest that you do. When you wake up in the morning, go straight to work. Better yet, keep a writing tablet next to your bed.

“What kind of reading do you do?”

This surprises some, but I almost never read my competitors’ mail packages. In fact, pretty much the only time I ever read another copywriter’s copy is when I’ve just finished a first draft of a package I hope will beat it – just to compare the overall emotional power of the control with what I’ve done.

I do subscribe to Bencivenga’s Bullets and cherish every word that flows out of “The Great Gary’s” mouth.

I also get Agora’s Early To Rise e-zine and most of what’s published online by Bob Bly and the American Writers and Artists Institute.

Plus, once a year, I try to re-read the following:

• Psycho Cybernetics by Dr. Maxwell Maltz
• Scientific Advertising & My Life in Advertising by Claude Hopkins
• Reality in Advertising by Rosser Reeves
• Tested Advertising Methods by John Caples
• Confessions of an Advertising Man and Ogilvy on Advertising by David Ogilvy

And for fun — and this is really weird — I like reading anything about quantum physics. The whole “reality isn’t really real” thing intrigues me.

“Do you work from an outline?”
“What’s your typical work process?”

It changes somewhat from job to job, of course, but here are the 12 steps I typically go through to produce a first draft …

1. Begin: You’re in the middle of a busy workday and – “ding-dong!” Fed Ex calling! It’s a HUGE box, crammed with everything you asked for: Everything you need to start the next project you’ll be working on.

What do you do?

I’ll tell you what most writers do: They drop it on the floor and then try to avoid looking at it for days – or even weeks – until they have their desks completely cleaned off … or until they feel like jumping in … or worse, until the deadline begins to loom.

If you can relate, I know exactly how you feel. The sheer enormity of the task symbolized by that box is intimidating.

Me? Unless I’m on a red-hot deadline for another client, I drop everything, jump right in and start reading.

You see, I love to procrastinate. To me, the feeling of putting something off that I thought I had to do and giving myself a day off is one of the best gifts I can give myself.

And over the years, I’ve learned that my love of procrastination isn’t such a bad thing – so long as I use a bit of wisdom when choosing the time for this guilty self-indulgence.

I know that every day that goes by after that box hits my doorstep and before the deadline is one less day that my subconscious mind will have to chew on the project at hand.

So, I jump right in. I know that, once I’ve internalized everything about the job – filed it away in my subconscious mind — I’ll have earned the right to set the job aside for a while. But not until then.

2. Read: Whenever possible, I like to combine two tasks into one, here. I read the material item-by-item – and as I go, I’m cutting and pasting things into the appropriate places in my outline.

When I’m through with the materials my client sent me, I jump on the Internet and, as Carline says, “Google everything.”

I search for the client’s, the editor’s or the author’s name and the name of the product. I read what competitors say about their product. I keyword the thing the product does and the benefits it provides.

Then, I hop over to Amazon.Com and see what other authors have written on the subject. I note their book and chapter titles (fodder for headlines and subheads!). I “look inside” their books and read their tables of contents (clues to what my final outline might look like and more fodder for heads and subheads). And, if I see something that might help me, I order it.

Then, it’s time for my pilgrimage to Barnes & Noble to pick up an armful of other books and periodicals on the subject and/or that I suspect that my prospects are reading.

While I’m doing all of this, I’m also talking to everyone I know about the subject at hand, and getting their thoughts and getting in touch with their emotions. I take special note of their reactions to the conversation: What interests or excites them; what bores them; what they find hard to believe.

I’m also making it a habit to point my satellite dish at any TV channels dedicated to the subject at hand or that have programs on it.

Finally, I drop all the thoughts, ideas, facts, figures and impressions I’ve picked up on the Internet, from the books and magazines, and from my conversation into the appropriate places in my outline.

3. Think: NOW, it’s time to procrastinate! I take a day off. If the timing’s right, I make it a three-day weekend. Take a nice, long putt on the old Harley. Do some plinking. Tinker in the garage. Play with the kids. Or steal The Redhead away from the kids for a day or so.

… Or not.

If I have work to do for other clients, I do it. The point is, I’m disengaging from the new project so my subconscious has room to work without my interference.

4. Organize: Once I’ve sowed my wild oats, it’s time to get back to work. And the first task is to organize — or more properly, RE-organize my outline.

I already know that I need to make the 8 preliminary sales to make the big Kahoona sale at the end. But the order in which I make these sales is dictated by the product.

For example, I may realize that a particular testimonial is so powerful, it would make the perfect headline.

Or, maybe the guarantee is so powerful, it needs to be right up front.

Or perhaps, there’s something in the news that suggests that I shouldn’t start with the product at all – but with something that everybody’s already talking about.

Or, maybe my original outline is just fine the way it is.

5. Begin with the prospect: This is where I do the “Zen” thing: Become the prospect.

I begin by closing my eyes, sitting back in my chair, thinking about how my prospect is feeling relative to:

• The general subject area at hand …
• The situation in which my prospect finds himself right now …
• Other solutions he’s tried and the people who offered them to him …
• Each of the benefits my product offers him …

… And anything else that my research suggests he may be feeling.

I write a series of “I” statements describing each of the most compelling emotions my prospect is experiencing right now in relation to my subject area.

“My greatest desire is _________ …

“I love the feeling of _________ …

“I’m scared to death of _________ …

“I’m fed up with _________ …

“I don’t trust people who ________ …

“I despise people who ________ …

“I secretly want to ________ …

… And whatever else my research may suggest.

Looking back over the list of resident emotions I’ve identified, I ask myself the question, “If I were the prospect, which of these emotions would be paramount to me? Which positive feelings are most likely keeping him/her up at night? Which negative ones are waking him/her up in a cold sweat?”

Then, I sort my resident emotions in order of importance, from the most- to the least-dominant.

Once I’ve exhausted every emotion my prospect could possibly have relating to the conversation we’re about to have, it’s time to begin writing in earnest.

6. Brain Dump: Actually, this is the beginning of the actual writing process. But I won’t dignify it by saying it’s “writing.”

It’s much cruder than that. This is the time for my subconscious to show off: Convince me that it hasn’t been loafing.

The key to the brain dump is speed. At this point in the process, I’m not trying to “write sales copy.” Yes, I’m doing some writing and some reorganization, but I’m not concerned with spelling, grammar, or punctuation – or anything else, for that matter.

This is almost an entirely right-brain, creative process. No rules. No page limitations. I free-associate as I write, letting everything that crosses my mind flow out through my fingers. Kill ’em all; let the devil sort ’em out!”

What I’m looking for is momentum … impact … personality … flashes of brilliance to keep the copy energetic (and just entertaining enough to keep ’em reading) … ironies that intrigue and delight … the occasional stab at a humorous one-liner, delivered with a knowing wink of the eye … cultural references that the prospect can relate to and feels comfortable with … and colloquialisms that communicate a lot in a minimum number of words, and that speak to the prospect in the manner in which he is accustomed to being spoken to.

Since I live nearly my entire life on my computer, spending money to make that life somewhat more convenient and pleasant seems like a good idea to me. I hate having to hunch over a 19-inch monitor and squinting at tiny type through coke-bottle glasses for 10, 14, or 17 hours a day.

So, I have three big monitors instead of one small one. My main screen is a 32-inch flat-panel LCD monitor. And it’s flanked by two 24-inch flat panels.

On my main screen, I open my outline – the document that already has all the impressions, ideas, facts and figures in a common-sense order — and resave it as “Draft 1.”

On my second monitor, I open my emotional inventory – the list of the dominant and resident emotions I’ve identified.

For the moment, I’m not worrying about the headline or lead-in. My goal is to make short work of the rest of the piece. So – just as a placeholder, I type:

“HUGE FRIGGING HEADLINE HERE!!!”

… in 36 pt. type. (As I am not offended by the occasional vulgarity – least of all my own — I have been known to replace “frigging” with a similar but somewhat earthier word, just for fun, and to help keep my mood and energy levels high.)

I work my way through the outline, point by point. Turning my notes into (hopefully) intelligible sentences and paragraphs.

And all the while, as I address point after point, benefit after benefit, “reason-why” after “reason-why,” I have my “emotional inventory” open on my second monitor, picking and choosing the resident and dominant emotions that are appropriate to each point.

As I come to the end of one section and begin another, I note where the subheads will probably go. If a subhead doesn’t spring to mind, I just slug in:

“Kick-Ass Subhead Goes Here!”

… and keep moving.

As I move through, I notice that some points, while powerful, just don’t fit with the flow of logic in a given section. I cut and paste those into a third document that I also have open, usually called “SBS” – for sidebars.

I also find stuff that I probably won’t be using. But who knows? So I have a fourth and final document open, usually entitled “xtra,” and past this stuff there.

When I’m through, I have a very, very rough draft of my running text. It contains all – or nearly all – of the points I want to cover: Every benefit, every reason why the prospect should buy.

And of course, each is presented in a way that connects with one of my prospect’s resident emotions.

When I’m done, I take the rest of the day away from the project – even if I finish at 9:00 AM.

7. Review: At the beginning of my next working day, I print my draft, sit where there are no writing instruments so I won’t be seduced into fine editing.

Mostly, I’m just kind of trying to get a sense for the overall logic flow and energy of the piece. But no cheating: Mental notes only!

8. Edit: Now, I dedicate one, entire, unhurried day to pressing this lump of coal into something more valuable. Still not a fine diamond, but at least a diamond in the rough.

Once again, I move through the copy. But this time …

• I’m looking for spots that need transitions and adding them.
• I’m cutting fat – mostly in my case, repetitive statements and unnecessary words.
• I’m examining my word choices and looking for alternatives that communicate more precisely and/or with greater impact.
• I’m reading sections aloud to see how they sound to the ear (a great way to spot clumsy passages that you otherwise might miss).
• I’m weaving my client’s personality into the copy wherever I can, often with statements about his experiences, his passion, his commitment, and how he feels just like the prospect does.
• I’m thinking about ways that I can make each point more credible and therefore, more compelling. If I need a fact or figure that’s not readily at my fingertips, I just punch in, “[XX RESEARCH!]”
• I’m replacing place-holding subheads with things that promise the prospect for reading each new section.
• I’m moving stuff around; making my last adjustments to the outline of the piece so that the copy feels natural and the logic flows in a, well … logical way.
• I rough in a headline and deck at the beginning. It’s still just a place-holder, but I’m going to be showing the next draft to some folks who may be confused or offended by the word “frigging.”
• I also rough in my opening copy – everything up to the first subhead, making sure that it is replete with all the reasons why the prospect should read this.
• I’m still not looking for perfection at this point – just something that’s good enough that I can show my client to get his or her thoughts and ideas without them freaking out.

The fact is, your client is going to have input. Usually, a LOT of input. I figure I could give them something I’m ready to mail, and they’d still want to change it. I’d rather get their critique, ideas, suggestions and any commands they anticipate from the compliance officer before I spend the extra time.

When I’m satisfied that this draft of my running text is, indeed a diamond in the rough – and not just a highly polished lump of anthracite — I move “Draft 1” from the big screen to the little one and move my “SBS” (the sidebar document) to the big screen.

First, I scroll through Draft 1 again, looking for statements that could be strengthened by a proof element sidebar of some kind – and rough them in.

Next, I look at the material I’ve already pasted into my SBS document and decide what I’m going to turn into sidebars and what I’m going to banish to my “XTRA” document: The place that, where, most often than not, weak ideas go to die.

Finally, I create the sidebars I’ve listed above:

• A Biography sidebar to dimensionalize my client’s uniqueness, qualifications, passion …
• Benefit sidebars to emphasize key benefits and expand upon them, and stop scanners in their tracks …
• Credibility sidebars to quiet the skeptics in the crowd …
• Process sidebars to demonstrate why my client’s approach is far superior to that of his competitors as well as superior to what the prospect is doing now …
• Proof element sidebars to prove my client’s case, document the wisdom of his approach, prove that it works, and to demonstrate what the prospect will get in return for ordering …
• Value sidebars that demonstrate what an outrageous bargain this offer really is …
• A guarantee sidebar to assure the prospect that he really does have nothing to lose by ordering …
• One pull-quote per spread to get my prospects face-to-face with my client and to drag scanners down into the running text …
• Action devices for each spread that tell the prospect precisely what he/she must do to order …
• Page turners – whether they’re sidebars or not, and …
• The contact device that will run in my footer at the bottom of each spread.

9. Share: At this point, I’ve done about 80% of the work I’m ever going to do on this piece of sales copy. The most time-consuming part of the process is over.

Now it’s time to get some second opinions. I show the piece to anyone who’ll agree to read it. That includes The Redhead, a couple of other copywriters whose opinions I respect, and a few civilians, as well.

Some of what they say is helpful. Some isn’t. And some just tick me off. But the helpful stuff is worth the trouble. I take copious notes.

10. Edit Again: This is my last chance to avoid having my client think I’m an idiot. I don’t always succeed, but I do my dead-level best to.

Generally, I take a full day to address the second opinions I’ve received.

And I repeat all the steps I took in the editing phase above to polish my diamond in the rough into what I technically refer to as “A pretty good draft.”

Oh. And by the way? I don’t care how long the copy is at this point. For a sales letter, I’ll eventually shoot for full signatures: 8 pages, 16 pages, or 24 pages, etc. Lower printing costs that way. But this is not the time for cutting.

For a magalog or tabloid, my copy is going to be typeset, collimated and punctuated with graphic devices. I’ve found that a reasonable page count is around 32 pages of 12 pt. text (with ½ inch margins at the top and bottom and ¾ inch margins on the sides of the page).

But at this point, if it’s longer, who cares? I’m going to be working on this again – and it’s always easier to cut than add!

The point is, a first draft is only a first draft. It contains trial balloons that I’m not married to, paragraphs or entire sections I’m dissatisfied with and still thinking about, even clever little land mines intended to provoke a frank response from the client, therefore clarifying a point for me.

It doesn’t have to be perfect. It’s never something I would recommend mailing. It’s just copy that’s far enough down the line to solicit the client’s input.

“What’s the best way you’ve found
to identify problems in your copy?”

I read it aloud — to The Redhead or someone else, when they’ll sit still for it — or to myself when I can’t find an audience.

As I read, I often find myself stumbling over a phrase … emphasizing key words that are NOT emphasized in the text … sensing the spots where the copy slows and needs to be punched up and/or shortened … identifying places where the sales argument is flawed … words that don’t quite communicate what I’d intended … and more.

I make a note on the page and return to these notes for one final edit pass.

11. Submit: I sometimes fail to do this, but I try real hard to submit my copy with a minimum of comments, excuses, rationales, or explanation.

The people who are about to read this are no strangers to first draft copy. I want their honest, unvarnished, gut-level reactions. If I have to defend something I’ve done, I’ll do it after I get their critique – not before.

12. Celebrate: I’ve just had a baby. I hurt all over. I’m physically and emotionally exhausted. I’ve used up all my words and am incapable of even the most rudimentary attempts conversation.

I deserve some time off and some pampering. Let the world stop while the client reviews the draft.

“How do you handle client comments?”

Usually pretty well. Other times, not so well. And, well, sometimes, I throw things.

But I try not to let on. Because, over the years, I’ve learned that my first reaction to copy criticism tends to be wrong more often than it’s right. After I’ve cooled off and had time to really think about my clients’ comments, I often realize that one of four things is true about them:

1. They correctly identified a problem and offered a great solution – or …
2. They correctly identified a problem and offered a reasonable solution – but not the best possible one.
3. They INcorrectly identified a problem that doesn’t exist but their solution for this non-existent problem actually strengthens the copy, or …
4. They INcorrectly identified a problem that doesn’t exist and proceeded to offer a positively idiotic solution that would kill my beloved copy.

Over the years, I’ve learned that handling clients’ criticisms and suggestions is one of the most critical stages of the copywriting process. Get this right, and you’re home free. Get it wrong, and the copy dies.

Here’s how I think about this ultra-sensitive process these days:
The client hired me and agreed to my outrageous, exorbitant, greedy fees. The only logical reason to do this would be that he believes that I know how to write better sales copy than he could – or any of his employees could.

At the same time, however, the client often knows things that I don’t: Including super-sensitive market research that they feel is proprietary. They don’t want competitors – or if it can be helped, even the copywriter — to figure out what they’ve figured out. And so we end up engaging in a kind of cryptic conversation in which he/she/they try to push you in the direction they want you to go – without giving away the keys to the kingdom.

Over the years, I’ve tried it all. I’ve had pieces that sailed through with virtually no changes from the client whatsoever. And frankly, most of my biggest winners fall into this category.

I went through a phase of doing everything I could to implement every suggestion my client came up with – and met with disaster after disaster.

These days, I’ve found a happy medium: Right down the middle of the road.

Here are the rules I try to follow …

• If any word, phrase, promise – or anything else in the text – is likely to offend a regulator or expose the client to the possibility of litigation in any way, I’ll work with the attorney, compliance officer – whoever – to find a solution. I will not, however allow an attorney, a compliance officer, the Apostle Paul or anyone else to change a word of my text. If a change is needed, I will do it. If my change doesn’t satisfy the offended party, I’ll continue working on it until it does. Beyond regulatory and other legal issues …
• If something I’ve written is inaccurate, it gets corrected. No discussion necessary.
• If I agree a requested change will strengthen the copy, it’s a done deal.
• If I think a change is inconsequential to the copy — but makes the client happy, no problem.
• If I think a change is both totally unwarranted and will damage response, I’ll fight it like a wildcat. If I don’t win with the creative director, I’ll appeal to the marketing director. If I lose with the marketing director, I’ll appeal to the vice president. If I lose with the vice president, I’m calling the owner. If I lose with the owner, I’m calling the real boss – the owner’s spouse.

“How do you decide what stays
and what goes?”

Great question!

After the client is through with my first draft, it’s time to turn it into a GIA-certified, D Flawless diamond.

That of course, means more polishing. It also means it’s time for the emotionally wrenching job of cutting copy to fit.

To do this, I rely on what I modestly refer to as, “Makepeace’s Laws of Space and Time”

To whit …

• Makepeace’s First Law of Space and Time: No matter how big the promotion is – even if it’s a 60-minute epic of an infomercial or a 36-page tabloid – there is a finite limit to how much sales copy will fit.
• Makepeace’s Second Law of Space and Time: Everything that makes it into the final draft displaces something that didn’t.

And so, it is absolutely critical that the copy-cutting task be handled with utmost care.

If copy is to be cut, I do it. Here’s how:

First, I eliminate some of my intentional, but least crucial repetitions of the USP and other benefits throughout the text.

Second, I check to see if I could do with fewer testimonials without damaging my case. If so, I cut the least dramatic and least specific testimonials first.

Third, I put each sidebar under the microscope. If there are one or two that make a point that has already been made well, I cut or dramatically shorten those.

Finally, if the copy is still too long, I get down to the fine cutting: Looking for individual paragraphs and even sentences that can be shortened or eliminated.

Well, that’s my process
– or at least a big chunk of it!

I sincerely hope this issue gives you some ideas to help you work faster, better and more profitably. If you didn’t, you weren’t thinking hard enough. Your assignment: READ IT AGAIN!

I just did – and I reminded myself of some stuff that’s going to save me a LOT of time next week – and maybe even let me squeeze in a couple of extra assignments this year.

Hope this helps!

Yours for Bigger Winners, More Often,

Clayton Makepeace
Publisher & Editor
THE TOTAL PACKAGE™

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