Let’s build on what we all share

Co-operative sets, Creative Collaboration

A team agreeing to cooperate. Awesome things will now happen!

I’ve had a pretty civic-minded week. First I hit The FuseBox to learn about the future of Brighton & Hove from Nick Hibberd, B&H Council’s Director of Economy, Environment and Culture, and his colleague Max Woodford. Then I heard Keith Taylor, our local MEP, talk about Brexit. All that’s set me thinking about how cooperation’s better than competition.

Brighton and Hove’s distributed future

The City of B&H wants to be “a nationally significant hub of employment and productivity growth”. It’s already pretty successful – it’s the UK’s third biggest service exporter after London and Edinburgh. And it’s growing fast.

But that creates problems too. At current growth rates, we’re going to need about 30,000 new houses by 2030. There’s only room for 13,000 and probably only capacity to build about 7,000. B&H’s office space is equally tightly constrained.

So the city’s looking beyond itself for solutions. It’s been a big part of the push to create Greater Brighton – a region of shared ambitions, infrastructure and general problem solving stretching all the way inland to Gatwick, and from Worthing to Seaford along the coast.

Big new housing schemes are getting the go-ahead throughout the region. And they’re part of a wider transport, technological and commercial development plan. By reaching out beyond boundaries to collaborate with its neighbours, B&H is finding exciting new ways of growing.

Thinking across even bigger borders

Greater Brighton’s a lovely example of how productive looking beyond traditional borders and creating new ways of coming together and collaborating can be. And that struck me with even greater force last night, at a talk given by our local MEP Keith Taylor.

He talked about issues from global warming to international crime that show no respect for traditional borders and so demand collaborative, co-operative, trans-national responses. Here too, community beats division. We’re at our strongest when we work together. Co-operation is king.

Brexit’s an obvious counterpoint to that. One of the few things Remainers and Leavers can agree on is that it’s been handled very divisively. And that’s weakened the UK on the world stage, shattered parliamentary authority and caused immense stress and uncertainty for millions of people.

So let’s all collaborate!

Which is a lovely idea – but what’s the best way to make it happen? Well, just get out there and do it. Build bridges not walls in everything you do. Come together as one!

And it’s a particularly interesting challenge in a marketing context. Marketing’s a discipline that’s obsessed with things like competitors, USPs, competitive sets, etc. They’re all ways of defining division rather than commonality. Reversing that can take you to some interesting places…

Step beyond the borders of your marketplace. Think about what your brand shares with others, defining it by its peers not its competitors. Pin down common selling points not unique ones, map out collaborative not competitive sets – and so on.

That’ll give you a whole new way of understanding your brand and a whole new set of inspirations for evolving it. And it’ll set you thinking about what we share with each other, which is where co-operation always begins.

Dungeons, dragons and brand guidelines

Brand definition, Brand personality, Reality

Back in the day I used to play a lot of role playing games – Dungeons & Dragons, Call of Cthulhu, all of the classics. You’d get together with your friends, then head out into a whole new world and start exploring it, inventing and living its stories rather than just reading them. It was literally fantastic.

Creating your character was a big part of the fun. You’d roll the dice, see who and what you  could be, then fill out the character sheet that described your new self. Character generation began every game, because you can’t start adventuring until you know what sort of adventurer you want to be.

Brands are characters too

Brand guidelines always remind me of character sheets. Both describe who you’d like to be and how you’d like to move through the world:

A wizard might be very intelligent but not very strong. She’ll be a natural when it comes to casting spells, but she’ll never going to pick up the nearest battle axe and charge headlong into the fray.

A DIY brand might be very useful and durable but not very stylish. It’ll be perfect for priming and painting the garden shed, but it’ll never try to step into your front room and make it look spiffy.

The limits of description

The problem is, both character sheets and brand guidelines are really just aspirations – they’re not the actual achievement of those aspirations. I was very strongly reminded of that by a great little rant from games designer and narrative media consultant James Wallis.

It comes in the character generation section of his influential game ‘The Extraordinary Adventures of Baron Munchausen’. Writing as the Baron, Wallis takes issue with how abstract the whole process is:

‘For character is not generated but forged on the anvil of life. It is only when the blows of experience ring in our ears that we move another step on life’s path… Our souls are formed first by doing then recollecting the experience of those deeds so that we and others might learn from the experience.’

We judge both people and brands not on how they talk the talk, but on how they walk the walk. Character only lives through action. We are what we do, not what we’d like to be.

You are what you do

That’s a tremendously important thing to remember when you’re building your own brand. Having a clear set of brand guidelines – a clear character sheet –  is very important. They help you understand and communicate who you’d like to be. But only action can define who your brand actually is.

So, once you’ve done all the thinking, make it practical. Test your brand aspirations out against your brand’s actual behaviour. If they match up, that’s great; but if they don’t, then you’ve got some work to do. It’s never enough to just tell people who you are – you have to show them too.

Sizzle your way to better brand language

Brand language, Branding, Business writing

So we were down at the Garden Centre the other day, buying a goldfish. That was a lot of fun – but for me, the really exciting part of the trip was finding issue 4 of Weber’s ‘Grill On’ barbecue magazine, because their brand language is fantastic.

We have two Weber barbecues – a big gas one and a little charcoal one – and we’re basically barbecue nuts. At the end of a hard day, few things are more relaxing than standing out in the back garden with a cold drink and something delicious sizzling on the grill.

And Weber have transformed what we barbecue and how we barbecue it, because they understand the real purpose of brand language. The best brand writing doesn’t tell, it shows. It helps people understand how wonderful your brand is by showing them how to get the most out of what it does.

Weber’s awesome cookbooks

Weber do that really well. They even publish cookbooks – we have their complete barbecue book and smoking guide. Both are fantastically informative, including deep dives into barbecue theory and practice, all-purpose grilling tips and tricks and of course a small mountain of delicious recipes.

Those books contain some of the most practical, informative food writing I’ve ever read. Weber’s content strategy turns their barbecuing expertise into useful, practical guidance that transforms their users’ brand experience. They pretty much guarantee that you’ll get the best out of your Weber kit.

Oh, and the ‘Grill On’ magazine is excellent too. It’s basically the Weber catalogue – but before you get to any product info, you have fifty six beautifully designed and written pages of barbecue recipes, grilling science and practical info. It’s a great read.

But what’s in it for Weber?

All that content’s great for the Weber barbecuer, because it brings the whole process to life in a way that’s practically, positively relevant to them. After all, they’re the ones paying good money for Weber kit. They have every right to all the help and support the brand can give.

And of course people who know how to get the most out of a brand automatically become excellent ambassadors for it. Whenever anyone sees them using it, they see high quality results achieved in a confident, purposeful way. What’s not to like?

Then they start talking about it.

You’ve had a sample of me raving about Weber above. If we were chatting face-to-face, I’d probably have pulled one of the books off the shelf to show you. You might also be munching away on a delicious recipe from it. So you’d probably end up feeling pretty positive about Weber barbecues.

The big brand language question

That’s what good content does. And it all goes to show the most important question to ask yourself when you’re writing for your own brand. It’s not:

  • How do we tell people how awesome we are?

Instead, ask yourself:

  • How do we help people do awesome things?

Then you’ll be on to a winner.

How to future proof your brand

Brand definition, Creativity, Future planning

One of the first things I learned about the future is that making lots of varied guesses about it is much more productive than trying make a few perfect predictions. That’s because the only thing you can confidently say about tomorrow is that it’ll surprise you.

So, the best way to future proof your brand is to imagine as many different versions of it as you can, then see how you’d react to them. That’s the futurist’s real role – to help you practice being surprised. Then you’ll find out how well you’ll cope with the unexpected and what really defines your business and your brand.

But how do you actually do it? Well, here’s one way that works for me:

What’s next?

Start by blasting out a list of possible future changes. Clones becoming our slaves! Brexit collapsing! Virtual reality replacing TV! The EU collapsing! Robots becoming real! Self-driving cars and trucks taking off! Aliens landing! Teleportation becoming cheap and easy! Whatever takes your fancy.

And be sure to balance the completely reasonable with the totally impossible. If you want to practice being surprised, you need to imagine some properly surprising events.

Utopian or dystopian?

Now think about how all those changes could work out. Free teleportation could be pretty utopian. But what if you’re running a bus company? Your business would disappear overnight. So from that point of view, it’s definitely dystopian.

Go through all of your changes and think about what they’d do to your business. Teleportation would transform estate agents, for example, because location just wouldn’t matter anymore.

What would you do?

Now pick the four changes that would have the biggest impact on what you do and how you do it. Choose a possible utopian, possible dystopian, impossible utopian and impossible dystopian one.

Discuss how you’d respond to each of them. Understand what could stay the same and what would have to change. Think about how you’d find opportunities in the dystopias. Explore any problems the utopias might throw up. Think practically about the impossible changes and impossibly about the practical ones.

What you’ll learn

Each scenario will help you think about how your business might change as the world changes around it. That’s useful in itself, because it gives you a greater sense of its possibilities and limits. And, taken together, all that will help you understand something even more important.

Ask yourself what you’ll always keep on doing for your customers, no matter how crazily the world’s changed. There’ll be something there – a single, central problem you’re always solving for them, no matter what.

Solving that problem is what your business is really about.

People will always need help with it, no matter how the world changes. And they’ll always come to you for that help, because you’re the experts in it. So, to future proof your brand, make sure that solving that problem is at the heart of everything your business says and does.

How to have a Good Idea

Creativity, The process

I’m part consultant, part author. In both roles, I have to come up with new ideas – and they have to be good ones. So there’s one question people very often ask me:

‘How do you have a Good Idea?’

Well, a Good Idea can feel like it’s come from nowhere. But there’s actually a very specific process that can help you come up with one:

Understand your problem

Good Ideas solve problems. And to really solve a problem, you need to understand it. So, dig into your problem. Research it, then write yourself a brief that lays out:

  • What the problem is
  • Why you need to solve it RIGHT NOW
  • Any obstacles you need to overcome to solve it
  • Who’s going to benefit when you do solve it
  • Exactly:
    • what they’re going to get out of it
    • why that’s so important for them

Immerse yourself

Gather lots of information. Find out all you can about every part of your problem. If you can, experience it for yourself. Look for similar problems and see how other people have solved them. Fill your head with useful details.

And don’t stop there. Do some random browsing too. Is there something you’ve always wanted to find out about? Or a favourite book, film, song or whatever else you haven’t listened too for ages? Go and check them out. Indirect information can be as stimulating as directly useful stuff.

Get blasting

Now you’ve understood and explored your problem it’s time to get creative. Blast out as many ideas as you possibly can. Go quickly – you’re trying to explore as many different ways of solving your problem as possible. Don’t judge them – at this stage, there’s no need to. And, most importantly:

  • Go Crazy!

Create ridiculous, absurd, impossible ideas. That’ll help you think beyond the boundaries, and also help you understand where the boundaries really are. Also, you’ll have a lot of fun, and that’ll help even more ideas flow.

Distract yourself

Now stop and go somewhere else entirely, to do something emotionally or imaginatively stimulating that has nothing to do with the Good Idea you want to create. Distract yourself with shiny new things so your subconscious mind can go to work. But don’t forget your notebook. Because…

The magic moment

Round about now, everything should come together and a truly Good Idea will just pop up in your head. It can happen anywhere, at any time, so be ready for it! Or you might look back over all the ideas you’ve already had, and realise that one of them is just perfect.

Make it even better

Your Good Idea is a wonderful, precious thing. But it’s also brand new. So, live with it for a bit. Test it against your brief. See if it needs a little polishing up. And then bounce it off a few people you trust. Talk them through your brief, then ask them how well they think your Good Idea works.

And that’s that! Happy Good Idea creating…

So why do we need tone of voice anyway?

Branding, Business writing, Tone of Voice, Writing

Well, you can answer that in three words:

Dick Van Dyke

If you’re not British, you probably know him as a tremendously versatile actor and light entertainer who’s still hoofing it up in his 90s. But if you are a Brit, when you hear his name you’ll probably mutter something like ‘Gorblimey Mary Poppins’ in a tremendously bad cockney accent, then wince.

And for us Brits, his disastrous attempt to sound cockney in ‘Mary Poppins’ gets in the way of everything else about him. It completely overwrites his all-singing, all-dancing, utterly charming performance in the film. And it’s overwritten much of the rest of his career too.

Poor tone of voice turned Dick Van Dyke from a comedian into a joke.

Wincing at slogans

The need for good tone of voice struck me again on a recent anti-Brexit march. I think Brexit is a big mistake. So I want to change the minds of people who are pro-Brexit. And so, every time I heard or read the slogan ‘Bollocks to Brexit’, I winced.

Of course, the slogan’s core message – ‘we think Brexit’s a bad idea’ – is entirely sound. It’s a great starting point for a conversation, leading naturally into ‘…let’s talk about why that is’. But its tone is aggressive and patronising. So it repels the pro-Brexiteers it most needs to convince.

Poor tone of voice alienates the very people you need to reach out to.

Reaching the right people

Tone of voice isn’t just about the big public messages. It can have very subtle impacts too. For example, small changes in tone can make a big difference when you’re recruiting. Certain words stop people from even applying for a particular job – here’s a fascinating article on how that works.

Getting job ad tone right increases diversity, which, because (according to McKinsey) companies with more diverse teams are 33% more likely to outperform their peers, increases profitability. How you use language can have a real, measurable impact on your business’ bottom line.

Good tone of voice boosts your business by bringing the right people closer to you.

Evoking the best of you

And of course some brands have fantastic tone of voice. First Direct are my own favourite example. I bank with them, so over the years I’ve had a lot of communications from them. Almost without exception they’ve been easy to understand, practically useful and just the right kind of friendly.

Put more technically, their communications deliver both rational and emotional benefits. And because they so precisely embody the First Direct brand, even the shortest note from them both reminds me of and reinforces all the good experiences I’ve had with them over the years.

Good tone of voice evokes everything your customers love about your brand.

So why do we need tone of voice?

We all need tone of voice because it shapes how we choose words, and the words we choose shape our brands and define our businesses in the minds and hearts of everyone they touch.

The Golden Secret of good writing

Business writing, Clients, The process, Writing
Someone who knows the Golden Secret using it to do some good writing

Photo by picjumbo.com from Pexels

Yesterday Andy White interviewed me for SiteVisibility‘s weekly Internet Marketing Podcast. We talked about ‘Bringing your brand to life with words’. Our chat ended with a fascinating question about good writing. Andy asked:

‘What’s the one bit of advice you’d give to to help anyone write more effectively?’

I had to stop and think for a moment. Writing’s a very personal thing, so any advice or training I give tends to be very personally tailored. But there is one thing that’s absolutely central to all good writing. And it’ll help you build stronger, deeper relationships with your customers and clients too.

Revealing the Golden Secret

‘Write what your audience needs to hear, not what you need to tell them.’

It’s a very important point. It means building your communication around the person you’re reaching out to. It means thinking about who they are, why they need to hear from you, what you need to tell them and how you’re going to talk with them – all the essentials of good writing.

It also makes the process of writing much easier. It helps you work out what you need to put into your communication, what you can leave out (usually, quite a lot!) and how you’re going to structure it all. And it gives you a very useful yardstick to edit against.

The worst ever question

Most importantly, it makes your writing much more effective. It will help you avoid the single worst response any communication can spark:

‘So what?’

If you build your writing around what your audience needs to hear, they’ll never have to ask that question. That’s because every single one of your communications will solve a specific problem for them, or give them a vital piece of information, or make life easier for them in some other way.

Testing out the Golden Secret

It’s very easy to test it out. Just think about all the written communications you’ve received in the last few days. I’m sure some of them have been fantastic and some of them – well, not so much.

Pick out a really good communication and a really awful one. Read them again with the Golden Secret in mind. My bet is that the really good one will feel like it’s written for and talking to you personally. And the terrible one will feel at best completely generic and at worst totally irrelevant.

Better writing builds stronger relationships

Think about how each one makes you feel. I’m sure the good one will leave you with a lovely glow of good feelings about whoever’s written to you. And the bad one will probably make you feel a bit fed up, if not actively annoyed.

And that’s the final point about the Golden Secret. It’s not just about good writing. It’ll help you build stronger relationships with your clients or your customers, because it helps you show them that you put them at the heart of everything you do.

Getting through a crisis with stories and druids

Storytelling

The other day I met up with a crisis management expert. We had a fascinating chat – not least because we ended up talking about how important story telling is in his work.

If you can’t tell a powerful story about how you’re going to get out of trouble, you’ll have big problems convincing anyone to come along with you. To tell that kind of story, there are two very important things you need – a clear structure and a strong hero.

The simplest story structure

Well, it’s three act structure, which is really just making sure that your story has a beginning, a middle and an end. But that doesn’t tell you why those three acts create such compelling stories.

A better way of understanding it is to think about the story’s hero. Each act brings a different part of their journey to life, like this:

Act 1 – hero wants to do something

Act 2 – hero can’t do something

Act 3 – hero does something

Now let’s see how that works in practice.

Learning from the druids

At the moment, I’m watching enjoyably nutty woad and weirdness epic ‘Britannia’. One of its lead characters is a rogue druid who’s resisting a Roman invasion.

His story is going like this:

Act 1 – Druid wants to protect Britain from the Romans

Act 2 – Druid can’t protect Britain from the Romans

Act 3 – Druid protects Britain from the Romans

Act 1 establishes why it’s so important for the hero to act and what will happen if they don’t. The Romans burned a village down and enslaved its menfolk as soon as they arrived. If our druid can’t stop them – exploitation and chaos!

In Act 2, you put obstacles in the hero’s path and explore how they learn how to overcome them. Our druid hero’s big obstacle is pretty obvious – he’s up against lots of heavily armed, politically savvy Romans.

And in Act 3, you explore how they get what they want and where that leaves them. That’s going to be interesting for our Druid, because of course historically the Romans did win. So I think victory might come in an unexpected way for him.

Telling your own story

And that brings us back to storytelling your way out of a crisis. That’s what our druid’s doing, with his Roman crisis – and it could help you too, when you hit your own critical moment. Think about what winning through would look like, then work back from that through your three acts to build your story of success.

That will give you a simple, powerful story to tell about what winning through looks like and how you’re going to get to it.

Oh, and there’s one last thing to add – how to be a strong hero. It’s simple – just be an active one! Don’t let things just happen to you. Make sure you’re driving the story on yourself, and then you’re sure to win out, even if that takes you somewhere you didn’t quite expect.

How dark archetypes can help you fix your brand

Archetypes, Brand personality, Narrative branding, Tone of Voice

Image by nrkbeta

People often use archetypes when they’re talking about brand personality or pinning down a tone of voice. They can be very helpful indeed – but, like everything, they have a dark side. Every heroic brand archetype is balanced by its villainous opposite.

Those dark archetypes are just as useful when you’re thinking about your brand. They can help you understand how it might be going wrong and help you tell a clear, simple, relatable story about fixing it.

So, let’s take a close look at a dark archetype. I’m going to focus on one that appears in pretty much every story ever told – the Shadow.

Enter… the Shadow!

The Shadow is the hero’s lead opponent – the absolute opposite of everything they stand for. And the conflict between them and the hero drives the story they both appear in.

Darth Vader – Luke Skywalker’s opposite in every way – is a classic Shadow. ‘Dr Jekyll and Mr Hyde’ is all about the good doctor’s Shadow taking over. Disney does great Shadows – look at Cruella DeVille or Snow White’s Wicked Stepmother. The Terminator is another example – an inhuman machine trying to destroy humanity. They can be very obvious in comedy – look at ‘Bridesmaids’, whose hero Annie is almost broken by her own absolute opposite, Helen.

If a brand’s making its customers feel it’s doing the direct opposite of what they want or need, then it’s a Shadow brand. Big Silicon Valley entities like Google and Facebook are great examples of Shadow brands. They want people to love how they’re creating a great new era of openness and community. But they’re very often seen as profoundly controlling and deeply divisive.

‘We’ve gone a bit Darth Vader on this one’

If you think your brand’s acting like a Shadow – that is, standing against rather than for what your customers want or need – it can be quite depressing. But the thing about Shadows is that their stories are about reconciliation and forgiveness as much as opposition and fracture.

Luke’s faith in his father finally pays off. The Terminator ends up protecting John Connor and saving humanity. Helen and Annie celebrate their friend’s wedding together, then Helen helps Annie find true love. And so on, in so many stories.

That gives you a really strong story to tell as you help your brand step out of the shadows. It’s a story about what your customers genuinely value, why and how your brand needs to change to deliver it, and how productive and profitable that change will be.

Beyond the Shadow

And that’s only one archetype. Perhaps some current or potential customers see you as a slippery Trickster, an obstructive Gatekeeper, a confusing Shapeshifter, or something else entirely.

Once you’ve understood the problem, and once you’ve settled on the dark archetype that best represents it, you’ve got a great way of telling the story of how you can fix it and why that’ll bring existing customers back onside and help you attract new ones.

Why business writing should come from the heart

Branding, Business writing, Emotion, Tone of Voice

There’s a comment that often comes up when I’m training B2B communicators in better business writing. It usually happens when I say something along the lines of: ‘To write well, you have to think about what your audience are feeling as much as what you’re telling them’.

And when I say that, someone usually replies with something like: ‘Ah, but we’re not fluffy and consumer. We’re all about business to business. Everything we do is all about being as rational as possible. So we really don’t need to worry about the emotional side of things when we’re writing.’

I’ve had that comment from finance people, technical types, insurers, charity managers – just about anyone you can imagine. And there’s a specific story I always tell in response to it, from psychiatrist Antonio Damasio’s excellent book on how our brains work: ‘The Feeling of What Happens’.

Where facts can’t go

Damasio describes how one patients suffered a traumatic brain injury that turned off the emotional part of his mind, leaving him unable to feel. All he could do was reason.

And instead of turning him into some Spock-like genius, one who – unhampered by the confusing distractions of emotion – ended up secretly ruling the world, or at least doing pretty well within some important part of it, it broke him. He found making even the simplest decisions impossible.

That’s because he only had reason to rely on. And reason deals in firm, hard facts. And most of the time there aren’t enough firm, hard facts available to know whether or not you’re making the right choice.

Damasio’s patient couldn’t even decide what colour socks to put on in the morning, because he had no way of knowing for sure how the choice of either one might affect his day.

So what do you really feel?

Damasio uses that story to make the point that we decide by feeling as much as thinking.

Reason helps us deal with what we know will happen. But we can’t know everything. So emotion – lovely, fuzzy emotion – helps us fill in the gaps, feeling our way through all the vaguenesses and uncertainties of life, and reacting accordingly. It’s a fundamental part of being human.

And every piece of business writing is written by a human for a human. And that human audience makes his or her decisions by feeling as much as by thinking, because that’s how we’re built. That’s how we make our minds up. That’s who we are.

So, no matter how rational a piece of business writing you’re working on, you always need to stop and work out how you want it to make your audience feel. Because they’re another human, just like you, so how you make them feel is just as important as what you make them think.