Posts Tagged Persuasion
This article was originally published on Avenue Right’s Media Buying Automation Blog.
All advertising is, most fundamentally, an attempt to persuade an audience. We want those people to buy our products, to enlist our services, to support an organization or cause.
The media we use to deliver these messages should match the habits of our target audience, and the message needs to remain consistent, however it’s presented within the media mix.
Just as the media buyer needs to incorporate multiple media channels to reach an audience, the ads need to blend a combination of rhetorical appeals to be effective.
It’s not good enough anymore to tell the audience that a treat from Peggy’s Pie Palace is a guilt-free experience—we need some evidence telling us why it’s a low-calorie snack option.
The art of persuading an audience means using the three basic appeals that Aristotle first described: ethos, pathos, and logos.
This means using the appeal of personal character, emotion, or logic, respectively.
Ethos is the appeal of a speaker’s/actor’s character or authority, such as the use of local celebrities or the business owner/employees in a company’s advertising.
This appeal gives character and personality to the message, making it easier for the audience to relate to, trust, or place authority in the figure represented.
Ethos may be represented differently in different media. Visual media has the benefit of using images, such as that of sports hero, where text-only ads and auditory media such as radio rely on style, tone, and name recognition to convey ethos.
Perhaps the most powerful tool in advertising, pathos is an appeal to the audience’s emotions. It can be used to create feelings of confidence and intrigue in a brand (“established in 1915”), to reinforce value (“find more time for you with Acme Widget”), or to promote a sense of urgency (“don’t spend another night with bedbugs”).
The emotions to which the message appeals may be many and varied: safety, well-being, pride, anger, insecurity, desire.
Logos is a logical appeal typically marked by facts, figures, and data. This information is quantifiable and helps us rationalize our decisions through hard data on money saved, time saved, higher status, and so on.
One tactic that combines all three rhetorical appeals is telling the audience how many people, just like them, have purchased a product or service. This social proof approach
- helps lower perceived risk and lessens our insecurity about the purchase (pathos),
- paints a concrete picture of market share through data (logos), and
- introduces like-minded characters and personalities through testimonials (ethos).
Tonight I had the pleasure of sitting around a table drinking wine and sharing crème brûlée with some friends from graduate school, specifically the MFA program in creative writing at Minnesota State University Moorhead. Pulling up in my minivan I realized it had already been a good 5 years since my last writing workshop around that blessed, beat-up and beloved table in Weld Hall library.
One discussion stood out over the Cabernet and custard, perhaps because of where I’m at academically, professionally, and personally. It was whether an MFA degree had any value in today’s workplace for those not interested in teaching at the college level, and how those skills might be applied in the workforce.
At the table for tonight’s conversation were four MFA graduates and a faculty member. The grads included a software developer, a local magazine editor, a PhD student/professor, and a marketing director. Not a bad as products of the program, I’d say.
This post outlines some key areas where the MFA program directly relates to the creativity, critical thinking, and communication skills that are very much in demand in today’s job market. It’s time to start that dialogue around how those of us in the arts and humanities can create some pretty kick-ass careers for ourselves.
The perspective here is from a fiction writer (as opposed to poetry or nonfiction), and it’s from the marketing point of view (versus a visual art like design or a sales role such as business development). It deals mostly with applied professional writing—as a “creative” on an in-house team or at an agency, for example. (I’m sure the linguistics or communications theory-laden post will soon follow.)
One more disclaimer is that I have split personalities when it comes to writing about marketing. I’m a B2B marketer marketing an advertising product to folks who market B2C. But at the end of the day, we’re all fucking human. Write that way and you can sell a product or service or otherwise inform and persuade an audience. That’s all we really need to do.
Here’s that list, from my own experience as an MFA graduate with a pretty sweet career. I may not have been placed on that path because my credentials state this particular degree, but the skills needed to get there tie directly to experience in a creative writing program.
1. Tight Lines. These people have the ability to write tight lines that are both creative and persuasive. In fiction, the writer needs to create believability and truth, or verisimilitude, in the story.
2. Plot Lines. Web copy, for example, needs to drive a visitor along a certain navigational path that results in that person taking an action, whether it be submitting a contact form, calling a business, or even moving on to the next page. Creative writers, too, drive their visitor—their reader—along with intent. The audience is brought on that proverbial journey, as the business writer strives to both pull a prospect through a sales funnel and engage them in interactive content, and a fiction writer so convincingly delivers a narrative that can pull the reader along the story’s path without question of the reality or the characters created—they simply must get to the next part of the story.
3. Buyer Personae. This one is huge, but it’s covered in the Marketing/Sales Cycle section below.
4. Positioning. PR positions the company, setting the scene for the action to take place. It’s important in PR to be completely transparent, to stay away from embellishment, but this is where command of English language comes in handy.
5. Storytelling. These are the folks that tell the company’s story, and they need to do it well. Hire a storyteller. Or become one. Enough said.
6. Audience. Identifying and understanding a target audience for marketing efforts is akin to developing characters for a work of fiction. You know who they are, what they make a year, their educational level, where they eat and shop.
3., Part Deux. Buyer Personae. The ability to serve up content that’s relevant to the business audience is critical to everything from generating interest to keeping a customer. To do this, marketers need to create what’s called a buyer persona to guide their efforts, to know what makes that target audience tick. This is literally an outline or profile of a character—for me, it’s all those characteristics scribbled on sticky notes across my desk and color-coded to indicate mannerisms or role in the story. But again, working within the framework of buyer personae is where the ability to create and develop characters in a fictional work becomes a skill that transfers nicely.
For these writers, it goes well beyond the numbers that identify age, location, and income— the ability to create and give voice to these buyer personae, understand their pains and how to manage their egos, and bring them along on that storied journey are inherent in those who’ve spent time writing fiction in first person or as a member of the opposite sex, to name just one exercise in character development.
7. Lead Generation and Nurturing. Think like the characters do. Where would you place the ads that would reach you if you were that character? Where would you be located? And engaged in what media? Where and how do you participate online? Think of what content gets the most downloads, and later, analyze what content was downloaded by the most qualified prospective customers and focus your editorial efforts accordingly.
8. Content Strategy. Oversimplified, this is creating, running, managing an editorial calendar.
In addition to providing the right content for your audience, this includes understanding how to work with people in order to elicit guest posts and suggest changes that keep the contribution on par with the quality of other writing on the site while maintaining author’s style. Experience in MFA program workshop dialogue, copyediting, and working with any published or up-and-coming authors are all great ways to develop a foundation for business content strategy and how to execute on it successfully.
9. Engaging. For marketers, this means creating dialogue around a topic or issue, whether in person or online. For MFAers, it’s the ability to deconstruct, put back together, and discuss what we read. “Nice work” is a comment that brings nothing to the table.
10. Case Studies and White Papers. The former is an in-depth profile that tells the story of how a business solved a problem or made more money using your solution. The latter is a paper that also solves a problem, typically research-intensive and from a thought-leadership perspective looking at improvements that can be made overall in an industry (and of course, in the About section in tiny print on the last page, how the corporate author is positioned to solve those problems). Naturally, these are my favorite pieces to write.
11. Stories. Using sticky notes and whiteboards to piece together the story of how functionality or a process will work in a software application is similar to performing this exercise in order to piece together a novel, story, or poem, or even the core argument for an essay (for the creative writer, it’s possible the whiteboard is instead a Moleskine®). This also applies to telling the story from the end-user’s perspective and the actions they take during the software testing/QA process.
12. Complexity. Being able to understanding complex processes and communicate them is useful skill. The correlation? A research paper on something like “Burnt Norton from T.S. Eliot’s Four Quartets or Vladimir Nabokov’s Pale Fire.
- Interviewing for a job (MFA: Engaging conversation and defending position in MFA workshop.)
- Taking (and applying) feedback and critique of professional work (MFA: Feedback from professors and peers during workshop.)
- Working independently (MFA: We write alone.)
- Write simple code for web development, design, and animation (MFA: Knowing how language works.)
- Research skills (MFA: If it’s out there, we can find it.)
Thus ends my preaching—for now—on the virtues of an MFA degree for those who aren’t ready to or have no plans to teach.
It’s interesting to note it wasn’t until later in the evening that said software developer, local magazine editor, PhD student/professor, and marketing director observed that none of us had actually graduated the MFA program together and were, pretty much, barely classmates. This attests to the community surrounding writing programs such as these and the craft itself.
If you do nothing else in life, perfect your craft. If you have a talent, use it. Get involved with the community around it. As fellow MSUM MFA graduate Kristen Tsetsi writes, “I no longer know the grass of forbidden lawns, because I drive past it.”
Exploring the craft before that forbidden lawn of unbridled creativity becomes unfamiliar is an experience that we’ll draw from inevitably in our careers, whether we realize it or not. We MFA grads had the opportunity to develop a mindset that allows for creative, critical, and analytical thinking–a stage on which to practice freedom in our art, engage in healthy debate and discussion, and advance our writing abilities both technically and creatively, all while participating in good conversation and community.
As a form of persuasive communication, advertising seeks to guide an audience through a decision-making process that begins with awareness and results in a purchase.
We deliver rational and emotional appeals through words and sound and images that reach our audience based on who they are, where they live, where they shop.
How far that message will reach and with what impact is determined by both the creative and the media through which it’s delivered.
An advertising campaign that uses multiple media channels to target local consumers will be most effective in reaching its intended audience. This allows media buyers to leverage the advantages of each media channel and their unique properties in the overall message delivery strategy.
Different media channels deliver different experiences to different audiences. The success of an advertising campaign ultimately depends on a combination of factors—messaging strategy, media scheduling, creative execution, and audience recall.
When it comes to reaching and influencing an audience, each local media channel has unique advantages and disadvantages that result from a combination of audience media consumption patterns, popularity of the media outlet in its local market, and the nature of the medium itself.
This might be the ability to use emotion or sensory experience to increase recall, or deliver just enough information in just the right place or number of characters to influence the consumer to make that purchase or visit that website.
Understanding how media resonate with the audience through different levels of sensory and emotional engagement helps media buyers leverage the strengths of each advertising channel included in the campaign. The table below illustrates some key points of comparison not only in terms of message delivery, but ease of execution and cost to produce.
Here’s a link to the original post as it appeared on Avenue Right’s blog. If anyone would like a copy of the full white paper, please email me at jessie[dot]johnson[at]avenueright.com.
It seems that I remember the login info for this blog after all….
I wrote this as a guest post for a B2Bbloggers, and thought I may as well post it on my own blog, too. Enjoy.
Whether making a purchase decision for myself or for my company, I’m still a human. A communications strategy that recognizes this as every business buyer’s position can make the difference between an engaged prospect or an unsubscribe, a loyal customer or a lost sale.
The marketer’s goal is to get buyers into and moving through the purchase funnel of awareness, interest, evaluation, acquisition, and loyalty. The decision-making process for purchasing business software, for example, is longer and more complex than that which involves an individual consumer and an impulse buy.
Fortunately, business buyers don’t stop being human when they clock in for the day as managers, developers, and owner/operators.
Therefore, many of the rhetorical tactics and psychological triggers used in consumer marketing also work for B2B marketing, engaging the people who visit our websites, read our content, and use our products in their professional roles.
This post examines the business buyer’s position, how it differs from that of consumers, why it’s important to appeal to both rational and emotional decision making, and how to engage this audience throughout buying cycle and, later, the customer lifecycle.
(De)constructing the Business Buyer
Spending money on cute shoes you don’t need, or even an item with a longer consumer purchase cycle, like a flat screen TV, isn’t nearly as big a risk as signing off on an item with the company’s money, be it external marketing spend or a software solution.
The business buyer is in a position of high accountability for purchases, and often has multiple “buyers” to persuade. This presents some unique challenges to marketers:
• More people are involved in the decision-making process, representing different facets of the business. With a software product, for example, it may be the primary user who shows interest initially, but the IT team and business owner are also involved in the final purchase decision. The different roles have different needs, and your copywriter is dealing with any number of different buyer personas.
• The buyer isn’t spending their own money. ROI and other advantages must be clearly documented to justify investment in one purchase which may take budget away from another. This is the time for case studies, data, and proof of time/money savings.
• The risk factor is often greater. Buyers fear that a bad purchase decision could lead to loss of time/money/productivity/data/hardware/resources for their business.
Where the decision to buy the shoes was largely on impulse and based on design and emotional appeal (i.e., feeling good while wearing the shoes), the purchase decision for a business product such as a software solution takes considerably longer than the typical consumer purchase, even for higher priced items such as that flat screen.
This requires marketers and sales teams to build a relationship with their contacts and keep in touch as a prospect moves through the purchase funnel, however long that may take.
At work here is both the rational and the emotional brain. In general, the rational brain craves a logical approach to decision-making, hard numbers and facts. The emotional brain responds to more abstract concepts such as safety and trust.
• The rational buyer is going to look for things like product feature specs and proof of benefit from other customers to build a quantifiable justification for the purchase.
• The emotional buyer is persuaded more by their gut feeling in a product’s ability to fulfill its promise, the safety and trust they can place in a company or brand.
Engaging business buyers requires an appeal to both parts of the brain, using one to justify the other.
Promising time savings is great, but suggesting what they can do with the time saved is even better—putting it toward business development and getting ahead of competitors in the market, for example. Tell them the improved workflow will lead to better internal communications, higher team morale, and a better atmosphere around the office.
Just as desire motivates consumers to buy, it also motivates business buyers. Desire for efficiency, profit, data security, or even recognition for acquisition of an innovate product that impacts the bottom line.
The other primary motivator is fear. Here this could mean fear of losing business to competitors if the competitor has better resources.
A good way to build trust and credibility while at the same time dropping a few statistics and testimonials to prove the value of your product or business philosophy is through content marketing—white papers, case studies, email campaigns, social media, and the company blog.
Of course, if the product isn’t great, none of this will matter.
6 Tips for Getting Business Buyers Engaged
Let’s face it. Things like “BUY NOW!” in big bold letters and other techniques geared toward pressure and impulse purchase don’t work with these decision-makers. They need to be educated not only on the product, but how it will improve their business and professional lives which will in turn positively impact their personal lives.
To get a business audience engaged, marketers need persuasive content that appeals to both logic and emotion. The communication strategy should serve prospective buyers as well as current customers with lifetime value.
The first step, though, is persuading the busy business buyer to open your emails, or read your blog, or take your touch-base calls.
Here are 6 tips for developing a messaging strategy and writing copy that engages and motivates a business audience, wherever they are in the prospect or customer lifecycle:
- Be relevant. Target your content and communications based on the individual’s role (technical decision maker vs. end user, for example), pain points, and activity history. Use personalized content in emails, such as names with the greeting and closure, or content based on product interests. Get the timing right—send relevant communications based on where they are in the buying cycle. Marketing automation is a must-have if this is to be done efficiently and effectively.
- Answer why and how. Tell them why they need your product, and how it solves their business problems and pains. Create a compelling reason for them to buy, or to download your content, or subscribe to your blog, follow you, etc. Re-enforce value and purchase satisfaction with existing customers.
- Pique their interest. Write concise headlines and titles that set expectations but leave little mystery. Tell your readers how they can solve a problem. You can even use “how to” in the title, such as “How to Eliminate Manual Data Entry & Improve Workflow.” Focus on solution and benefit.Use numbers. It helps organize information and sets expectations with the reader. And who can resist a question?
- Educate early. Provide white papers, case studies, tips, and best practice content, tailored to the contact’s specific pain points and position in the buying cycle. Become a trusted source of information and content for your industry and the challenges its professionals face. Good resource for content marketing and copywriting are Junta42 and Copyblogger.
- Manage risk. The business audience needs to manage perceived risk later in the buying cycle, and you can help them do that by providing case studies and statistics. Testimonial blurbs at this point usually aren’t enough—the buyer now needs hard facts and case studies from similar companies to make a rational justification for the purchase. Emotionally, this purchase decision could be tied to either a promotion or a severance package, depending on the price tag and how it impacts the business.
- Make it easy for them to purchase your product and maintain a customer relationship with you. Keep in touch after the sale.
(This article appeared on B2Bbloggers at http://www.b2bbloggers.com/blog/6-tips-for-understanding-the-b2b-business-decision-making-process/ )
In a blog post for Avenue Right, I suggested looking to the rhetorical appeals as defined by Aristotle as a way to develop advertising content that resonates with a target audience.
I won’t regurgitate the full post, but what I did want to highlight here is how ethos, pathos, and/or logos should be used in any marketing materials or business communications to present a solid and persuasive argument.
- Ethos refers to the appeal of the speaker’s character or authority. A good example of ethos in advertising is celebrity endorsements.
- Pathos appeals to the audience’s emotions. It can be used to convey feelings of confidence and integrity in a brand, or to inspire a feeling or emotion that brings about the desired action.
- Logos is logical appeal. This persuasive strategy is usually marked by facts, figures, and data.
If you’re interested in the full post on advertising content strategy, check it out here.