Archive for Direct Mail

Try Postcards

ABC15 ran a story about a family that has been trying to find their lost pet dog. They have put posters up everywhere, taken fliers to area veterinarians, and now they are trying postcards. The story featured a service that creates postcards to saturate the neighborhood with a photo of the lost pet, some basic information and all the ways to contact the pet owner.

A postcard can reunite families and pets, a simple postcard can do so many good things. A postcard can reach people in the moment when they are open and willing to consider information and offers. We offer more information about postcards and ideas to get you started in using them too.

It seems like thoughts and trends are going in a circle. People are trying everything to communicate important messages and then they go back to what has been proven to work, direct mail.

Copywriting Sparks

A new simple approach may help you create some new ideas for your next direct mail piece.

Step 1, Answer these questions:

  • What problem does your product (or service) solve, and for whom?
  • How long has your product (the widget) been selling steadily, and why?
  • What uses or occasions is the widget especially appropriate for?
  • Where would you normally find one of its ingredients or components being used?
  • What doesn’t the widget have, which makes it superior?
  • Is there a flaw to feature?
  • It’s a cross between a what and a what?
  • How will the user feel when using it?
  • What does this widget go well with?
  • What kind of testing went into making the widget?
  • Why might you want more than one widget?
  • Why is the price so reasonable?

Step 2, Look at your list of answers and choose one or more ideas that provide an appealing angle.

Step 3, Add the practical facts like how big and how much, and you’re done.

4 Ways to keep copy fresh

  1. Embrace the customers’ point of view.
  2. Be strategic and ask tough questions about established assumptions.
  3. Watch out for mistakes that can shorten your project’s shelf life or usefulness.
  4. Try not to worry too much about grammar and conventions. Being effective may be more important than being correct.

Copywriting Checklist

Pat Friesen put together a checklist for Target Marketing Magazine to help business owners, product managers or marketing/advertising directors provide direction and input to writers who have the important assignment of crafting messages that generate response—whether it’s a click, call or car trip to a store or event.

Even if you are not a writer, you play a key role in the success or failure of the copy and content copywriters develop because of one or all of the following:

  • You know the product inside and out—its strengths, weaknesses and unique benefits.
  • You understand the major motivators and buying objections that influence buyers and nonbuyers. You know the competition, its strengths and vulnerabilities.
  • You have access to customer complaints, testimonials and much more.
  • You have insights, ideas and detailed information your copywriter wants and needs to craft a compelling sales message.

This copy checklist is designed to help you give direction and input to your writers. While every project may not require everything outlined, use this as a guide.

  1. What is your objective? Do you want to beat the control by X percent? Generate one-step sales or qualified leads? Strengthen relationships? Introduce a new product? Increase average order size? Initiate Web site involvement? Test media, offers or other direct marketing elements? Transform a one-time trier into a second-time buyer? Generate referrals or measurable forward-to-a-friend activity? Your writer needs to understand what you want to achieve and how success will be measured.
  2. What is the brand personality? Is the brand upbeat and innovative or classic and conservative? Does the brand have a spokesperson? Is there an established copy voice, tone and vocabulary? Provide examples so these can be sustained.
  3. Who is the audience? Is the message directed to a customer or prospect? Multibuyer or first-time trier? Decision maker or decision influencer? What is the average age, household income, educational background of the targeted reader? What is the comfort level with the media selected to deliver the message (e.g., postal mail, TV, etc.)? The customer/prospect profile you provide helps your writer envision the individual person to whom he or she is writing instead of a sea of nameless, faceless people.
  4. What is the product/service? Provide features and corresponding benefits. Identify the top three features/benefits of interest to the targeted audience. What are the truly unique features/benefits? Price? Ordering specifications (size, color, etc.)? Is it new? Improved? A best-seller? Back by popular demand? Also provide competitive advantages and disadvantages.
  5. What is the offer? Because the offer is what generates response, make sure to provide your writer with all elements of your offer and why they are included (e.g., discounts, deadlines, guarantees, premiums, other incentives, delivery options, payment options, etc.). Remember your offer is more than just a product or service, discount, or free shipping; it’s a package of elements bundled together to address key buying objections and push fence-sitters over the edge of indecision.
  6. What are the top three buying objections? Provide prioritized information about why people don’t buy your product or service. Your writer needs to address these objections—either directly or indirectly.
  7. What is the call to action? Do you want people to respond by phone, mail, e-mail, online ordering, clickthrough to a Web site, in-store or at an event? Is a unique landing page required? If the objective is generating leads, provide a sample of the fulfillment package, and/or tell the writer what will happen after a prospect raises his or her hand as a qualified lead.
  8. What is the format? For direct mail, is it a postcard, solo package, self-mailer, box, tube or some other format? For space advertising, is it a full- or half-page ad? Back page, back cover? All of these details provide your writer with additional ammunition for crafting a control-beating message.
  9. What media is being used? Direct mail lists, e-mail lists, TV, radio, space advertising, etc. Tip: If you’re testing e-mail vs. postal mail, be careful about directly picking up traditional letter copy and testing it in e-mail.
  10. What is the test plan? Are you testing copy? Creative? Formats? Lists? List segments? Offers? Timing? Other direct marketing elements?
  11. Will the copy be translated into languages other than English? While this may not directly affect the copy your writer develops, it may influence the overall creative approach.
  12. What other copy resources are available to the writer? Interviews with customers? Sales people? Customer service staff? Product managers? Product developers? (Tip: Product developers know valuable details about the quality of the ingredients or other details no one else knows or thinks to mention. Customers also have a way of revealing benefits often overlooked by or unknown to marketing staff.)
  13. Provide a product sample. Writers like to try what they are writing about because it provides firsthand experience with product benefits.
  14. Offer a sample of the control. Some writers prefer not to see the control e-mail, mailing package or space ad they are trying to beat. At least offer it to your writer.
  15. Provide Web links, when appropriate. Provide specific links you want included in direct mail, space ad, e-mail, e-newsletter, landing page and Web site copy.

Get It Done!

Many people enjoy swapping stories of disasters, but the “saves” are so much more common. Mailing professionals often catch errors on a proof, suggest a redesign that saves handling or postage, fix mistakes on printed pieces with creative ingenuity and maybe some stickers, notice that the list is wrong, catch a huge number of duplicates, and work overtime to get the mail out in one day!

There are so many times when others in the chain (project leader, artist, layout, printer…) run into challenges and time delays. When the pieces are finally off the printing press, the deadlines have all been missed and keep slipping and all of a sudden we are a week away from “it” (a major sale, an event, the end of the month…). Then somehow, someway we as your direct mail shop get the mail to the post office and the pieces get delivered right on time.

What are you doing to survive and thrive right now? Do you still have the ‘git-er done’ attitude?

Creative Planning To Strengthen Your Marketing

Target Marketing Magazine included some great tips and considerations for creative planning as a part of suggestions for campaign planning meetings. We want to help you think about these as you plan your Direct Marketing.

The Offer

Remember, an offer can be a full-price product with special value.

  • Why was it created?
  • What problem will it solve for your customer?
  • What are we asking the customer to do?
  • What is the overall strategy?
  • What are the goals in terms of response rate or overall sales, and how is the offer going to help reach those goals?

The Audience

  • Who is getting this piece, and what is his relationship to your company? The message that you send to a customer should be drastically different from the message you send to a prospect, who may not even know who you are.
  • Think about the individual person behind the demographics. What will motivate him? What is his attitude toward what you are selling?
  • What key words can you use to speak directly to his needs?

The Brand

  • Your brand isn’t your logo; it’s the consumer’s perception of your company. How can you remind—or for a prospect, introduce—the recipient of your unique point of differentiation?
  • How can you prove that you are delivering on your brand promise?
  • What words and visual cues can you use to reiterate your brand?

The Format

  • What is the format, and why was it chosen? This is especially important to explore when using a solo package including multiple components. Explore each component, discussing the hierarchy of each piece.
  • Can the format be improved? Your production manager may be able to explain important options and opportunities as ideas are generated.

The Creative

  • What visuals will help grab attention and quickly explain your offer?
  • Where are the hot spots in your format, and how will you use them to your advantage?
  • How will you exploit an offer and make sure it is seen?
  • How many times will the offer be repeated and where?
  • How will the recipient process the piece—what will he look at first? If it’s a mailing, how will the envelope entice him to open it? If it’s a postcard or e-mail, how will you identify or introduce yourself at a glance and answer for the consumer, “What’s in it for me?”
  • What copy will intrigue the reader the most?
  • How much copy will be required and at what ratio to images?
  • How can you show value in every product? Is it necessary to include additional insets or callouts to showcase benefits?
  • Review the creative and production schedules: Who will work on the piece first; who will work on it second?
  • What is the proofing and editing process?
  • Together, create a list of must-haves: phone number, URL, fax and registered trademarks.
  • Are multiple versions necessary to accommodate different 
customer segments?

There is no guarantee that your project will run smoothly from beginning to end, but with the right planning—an understanding of the offer, audience, brand position, format and creative strategy —you have a head start. Take the time to talk through all of these points before the design process begins, and your program will generate better results.

Direct Mail Hot Spots

Target Marketing Magazine published a great article a couple of years ago about how readers eyes move around a mail piece. We all do this so many times without thinking.

A hot spot is where your eye goes first when you look at a postcard, outer envelope, catalog spread, direct mail letter, space ad or even an e-mail.

Most of us had our first experience with hot spots in elementary school when we looked for easy ways to study for tests. We wanted to pick out key points to review without reading entire chapters. What did we do?

We looked at chapter titles, subheads, terms in boldface type, maps, charts, graphs, photos, and the captions under them. In other words, we looked at hot spots. From this experience, we’ve trained ourselves to look for eye-grabbing design and copy elements. We use these signs for scanning copy and deciding whether or not we’ll read the rest. Here are 10 things every direct mail writer, designer and approving manager should know about hot spots; nine tips for putting these road signs in action; and six techniques to avoid.

What You Need to Know

  1. All formats have hot spots. This applies to postcards, self-mailers, letters, envelopes, brochures, order forms, catalogs, e-mail, space ads and even buck slip inserts.
  2. Some hot spots are innate to the direct mail component in which they’re found, such as the return address on an outer envelope or the saluation or P.S. in  a letter. (Did you know 30 percent of the people read the P.S. first?)
  3. Other hot spots are created to capture and direct the reader’s attention, such as the dot-whack teaser on an outer envelope or corner slash on a catalog cover.
  4. Outer envelope hot spots include: corner card/return address in the upper left-hand corner, addressing, postage, teaser copy on front or back and the back flap.
  5. A checklist of letter hot spots include: letterhead/masthead, salutation, first sentence, first paragraph, Johnson box area in the upper-right corner, last paragraph, signature and title, P.S., P.P.S., P.P.P.S., copy underlined or indented, bulleted, or boldface copy, indented subheads, and handwriting in the margins.
  6. Hot spots are useful for controlling eye flow. For example, if someone reads only three things in your letter, which three things do you want him to read? And how can you use hot spots to make sure they get read?
  7. You have three seconds or less to grab your reader’s attention; hot spots are critical for quickly getting the reader involved in your mail piece.
  8. Direct mail designers use type fonts and sizes, background colors, borders, violators, copy placement, images, callouts and other graphic tools to create hot spots.
  9. Direct mail writers create compelling hot-spot copy using the words “you” or “free”, customer testimonials, major benefits, strong calls to action, action verbs at the start of sentences and headlines, and other direct response techniques.
  10. Hot spots are a team effort; writers and designers need to work together to make them effective.

Hot Spots in Action

  1. Add a person or group of people to the photo of your office building or store, and you’ll transform the photo into a more interesting hot spot. The eye naturally is drawn to photos that include people or human elements, such as hands, feet or eyes.
  2. Double the impact of photos by adding captions. When your reader looks at a photo, he or she looks below the photo for a caption. Use captions to highlight major benefits, focus on points of competitive differentiation or provide a strong call to action.
  3. Create hot spots that break up long copy by using headlines, and subheads, photo captions, bullets, violators, testimonials, sidebar stories, charts, icons drawing attention to phone numbers and URLs and callouts. Rarely is a letter, brochure, insert or order form read from top to bottom, start to finish. Readers look for copy interests them in bite-size pieces.
  4. Use hot spots on response devices to restate benefits, showcase your guarantee, restate the call to action and response options, provide methods of payment, and offer shipping options.
  5. State and restate major benefits in hot spots so your benefit story won’t get overlooked.
  6. Position your major benefit at the beginning of a sentence, paragraph or headline. Don’t bury it in the middle.
  7. Do not color-coordinate every component in your mailing. Instead, use a bright yellow free gift insert or fluorescent-orange burst to highlight a customer testimonial in your letter.
  8. Use hot spots appropriately. They don’t necessarily have to be big or bold. For example, the salutation of a letter doesn’t need to be large, colorful or even personalized to draw the readers eye to draw the readers eye to it. It’s a natural hot spot. However, it does need to be appropriately accurate to establish a rapport between the individual receiving and the person signing the letter. Used appropriately, “Dear Friend” and “Dear Preferred Customer” can both be equally effective. Be very careful with “Dear Sir” it is not appropriate or effective with women.
  9. Use hot spots strategically to gently move the reader’s eye from one place to another. Don’t fill your outer envelope with bright bursts of copy and expect it to get read. Too much of a good thing is not a good idea.

Words of Caution

As much as hot spots encourage scanners to become readers, there also are techniques that stifle readership. In most cases, you want to avoid:

  1. dense copy blocks filled with long sentences;
  2. large amounts of copy in difficult-to-read red or reversed-out type;
  3. long headlines in all caps;
  4. gray-screened backgrounds for copy;
  5. body copy in smaller than 10-point type and/or in sans serif type; and
  6. justified copy that creates odd word spacing.

How else can we inspire you to lead your readers eyes with Direct Mail?

Direct Marketing Math

Direct mail and direct marketing are all about results and return. Hopefully finding all these formulas in one place is helpful.

Response Percent                     =          (responses / mail quantity)  X 100

Raw Cost Per Response          =          cost per package / response rate

Break Even Response Rate    =          cost per package / cost per response

Average Order                           =          sales dollars / number of orders

Loaded Cost Per Response    =          (cost per package / response rate)  +  fulfillment  +  telemarketing

Profit per Buyer                          =          profit dollars / number of buyers

Marketing Cost Per Order        =          marketing cost / number of orders

Load Cost Per Sale                  =          cost per lead / closing rate

Maximum Package Cost         =          cost per response  X  response rate

E-Mail Open Rates

This subject line, “Study: E-mail open and click-through rates up in Q4” from BtoB Magazine has us wondering, is this irrational exuberance? They seem to be ecstatic about open rates of emails being up in the fourth-quarter of last year to 22%, up from 20.9% in the fourth quarter of 2008. The study also found click-through rates were up marginally, from 5.8% to 5.9%.

Can we step back and think about this? This means that 78% of the people on your treasured, valued, opt in list do not even open your message. So that means that 94.1% of those same loved customers or prospects are not going to your landing page, they are not engaging with you, they are not seeing your appealing message. For some reason we hear many people wanting to compare these metrics with response rates for direct mail. What is a positive response for mail? A sale! That would be revenue generated as a result of your customer or prospect receiving information from you.

E-Mail has its place as a part of a larger strategy, but if it is your only method for reaching new customers or reactivating dormant customers, you may miss your potential.

A College Student’s View of the Mail

Loyola University student Andy Dorsey describes his feelings about personal postal mail in an opinion-editorial.

“Sure, it’s cheaper and easier to e-mail people, but it’s just not the same. When you see an e-mail in your inbox, you probably dread the homework assignment, request to attend an event or at the very least, the obligation of composing a reply.

Letters are different. Maybe many of my peers have never gotten a true letter in the mail, but it’s at once an exciting and human experience.  Texting may have the advantage of instant contact, but letters are physical pieces of paper prepared for your personal perusal. They are objects that have traveled from their hands to yours.”

Using direct mail to reach, even the youngest consumers, is great way to stand out and send some genuine personal messages.

What does your brand stand for?

Deliver Magazine provided some thought provoking questions for many organizations and their marketing teams.

You spend hours crashing through strategy documents, pulling out nuggets of customer insights, determining differentiators in the industry and understanding what it is that makes your corporation unique. And in the end, you have a vision of who and what your company is about. It’s that vision that helps establish relationships with customers, win over prospects and get your company noticed in this increasingly chaotic and fragmented world.

Then, after all of that strategic work, comes the execution part of the marketing plan and you decide to go digital. You send an e-mail — which looks just like any other e-mail in your best customer’s inbox.

Oh, we know, you finely tune the colors to match your brand (despite the fact you can’t calibrate how that color appears on any one monitor) or you include photography and graphics (which don’t download until the users request them) or you include the all-important link to your heavily branded Web site (although fewer than 10 percent click through).

So, maybe it’s not the optimum branding experience, but it’s cheap. Boy, is it cheap. And it’s efficient — you can reach hundreds of thousands, even millions in a single blast — and really, you’re getting the word out there.

Then the economy picks up, but your sales don’t jump as much, and at the next marketing meeting, as you’re puzzling over the numbers, someone asks why your customers aren’t so loyal anymore. What’s happened to that great relationship your brand used to have with them? And there’s a lot of this and that around the table, mutterings about “empowered consumers” and “everything’s a commodity,” and the meeting rolls on. You shrug your shoulders and concentrate on the next campaign. There’s work to do.

We understand. It’s not an uncommon problem. It’s just that, well, you could stand for something. You could put something in your customers’ hands, something branded. Imagine that: those finely tuned colors, the carefully selected images, the perfectly worded summation of what your brand is all about sitting right there in the hands of the people you most want to reach. It’s right there at their fingertips.

And inside that package, something amazing — something they could never get digitally. A sample, a tchotchke for their desk, a magnet for the fridge, a baseball bat, a brick, a salami — who knows? Something that’s amazing and brilliant and relevant, just like your brand. A piece that says “Hey, I know you,” and reminds that customer why he or she came to you in the first place and what your brand is really all about.

You could do that. But that’s direct mail, and some say that is old. No point in doing that, right?