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It’s Not What You Say, It’s How You Say It

saying.jpgCopy is all about words. Or is it?

Copy is about using words to describe the benefits of your offer. About using words to paint vivid mental imagery. About using words to stir the senses, press all the “hot buttons” and push the reader to take some kind of action.

But is it really ALL about words? I mean, just words? No.

Some copywriters claim that graphics, formatting and photographs should NOT be added to a salesletter because they distract. They can take the reader’s focus away from the message.

I agree. But not entirely. Here’s why…


You see, it is definitely true that words are extremely important. And the words you choose can make or break the sale. You must describe your offer in a way that gives it sex appeal, a sense of urgency and dose of emotion.

But the cosmetics are just as important, too.

They help to direct the reader’s eyes. They also help to drive important points home. But above all, they help to replace the cues, nuances and nonverbal subtleties that occur in traditional, face-to-face sales encounters.

They are Proxemics, Haptics and, most importantly for us writers, Kinesics.

Proxemics is the science of personal space. The distance between individuals during, for example, a conversation, a meeting or a shared activity.

This is not some metaphysical “Feng Shui-ish” thing. I’m talking about our psychological (and often subconscious) reaction to the distance we maintain with other people — such as, for example, during a sales encounter.

For instance, sitting across from someone at a desk may unconsciously convey that the other person is being confrontational. That’s why some sales training programs tell you to sit side by side with your prospect.

Haptics, on the other hand, is the science of touching. Some psychologists have studied the effects of touching during conversations. For example, they tested how people would react when they were told a certain statement.

Here’s what they did.

In some cases, the speaker would simply tell the listener a story.

In other cases, they were told the same story. But at times, the speaker would lightly touch the listener on the forearm for no more than a few seconds, particularly when he was saying something important.

According to the study, subjects in the second test felt that the speaker was more believable. They had higher recall scores. Physiologically, they felt more relaxed and comfortable with the speaker. They felt a certain “connection.”

Of course, there’s more to proxemics and haptics than that. And you can’t really use those in copywriting. But the one type of nonverbal communication you can use (and the one I want you to focus on) is Kinesics.

Kinesics is the science of body language. Nonverbal gestures, postures and facial expressions by which a person manifests various physical, mental or emotional states, and communicates nonverbally with others.

These messages delivered through nonverbal cues, which can be either verbal or physical, can support, emphasize or contradict what is being conveyed.

In face-to-face selling, Kinesics are often used to emphasize key benefits. But they are particularly important because they can drive important points home — such as by adding emotion to a sales pitch, which go beyond words.

Uncrossing of the arms or legs. Raising of the brows. Rubbing of the chin. Leaning forward. All of these can indicate that you’re interested in your client — or if the client does it, it can tell you she’s interested in your offer.

But verbal cues are usually those conveyed through the qualities of the voice, such as tone, volume, rhythm, pitch, pausing and inflection.

All of these can be interpreted as many things and used in different ways.

For instance, inflection is the musical quality of the voice — the verbal ups or downs of a part of a word, a whole word or a series of words. In selling, vocal inflection is probably the most often used Kinesic form of communication.

Why? Because it can virtually change the entire meaning of a message, even when a single word is inflected. Take, for example, the following sentence:

“I didn’t say I love you.”

It’s pretty straightforward, right? But instead, if I said:

“I didn’t say I LOVE you” (where verbal emphasis is placed on the word “love,” as in ” loooovvvve”), then I might be implying that I simply “like” you.

On the other hand, if the word “you” was emphasized (such as ” I didn’t say I love YOU“), then it could imply that I love someone else altogether.

If I inflected the word “didn’t,” as in “I DIDN’T say I love you,” then it could imply that I wrote it, or I said or meant something else instead.

In essence, it’s not what you say but how you say it.

In copy, we’re limited, not by what we want to say but how we want to say it. That’s where cosmetics, formatting and certain ” visual triggers” come in.

Sure, you shouldn’t add graphics willy-nilly. But you should add graphics and photos that support (and perhaps even emphasize) the sales process, and not graphics that could distract the reader from the sales message.

Auction giant eBay reports that listings with pictures outsell those without pictures. While anecdotal, I’ve heard of boosts in bids as high as 400%.

Therefore, if you can add a photograph of your product (or if you sell a service, a picture of you in action with a client), you will likely achieve greater results.

But graphics and pictures aside, the look of the copy is just as important as the the words themselves. That’s why, when I write copy, I usually pay close attention to the cosmetics. I even call it “copy designing.”


How do YOU do that?

Incorporate visual triggers, cosmetic “commands” and response devices into your copy, usually with formatting, in order to boost readership and response.

Now, I’m not talking about going crazy with different fonts and colors.

I’m talking about strategically placed bolds, italics, typestyles, font sizes, boxes, bullets, colors, white spaces, borders and so on. (Take, for instance, the way I emphasized certain words in the inflection example earlier.)

As copywriter Martin Hayman noted: “Michael Fortin is right. The way the copy is set out on the page makes a massive difference to the way the reader responds. Typographic practitioners have known this for, oh, centuries.”

Here’s just one example.

Over 60 years ago, Frank H. Johnson, a direct mail copywriter, decided to start a new technique to boost the readership and impact of his salesletters.

He would highlight the offer in a centered, rectangular box placed at the very top of the letter above the salutation. Why? Because he wanted to summarize his offer upfront in a way that saved his readers’ time and hassle.

Instead of forcing readers to wade through a mass of copy before making the offer, he gave them the essentials, right upfront. The results were astonishing.

Direct mail copywriter Ivan Levinson reports he has seen claims that adding a “Johnson Box” to a plain letter can shoot response rates up by 40%.

This technique can also be applied to boxes placed within the heart of the copy in strategic locations, such as right before any call-to-action or when highlighting some of the most important points of your copy.

So in your copy, put your bonuses, premiums, guarantees, testimonials, factoids, key points, stories and sidenotes in Johnson Boxes.

Take a look at The Copy Doctor, or a recent salesletter I wrote at TrafficSecrets.com. You’ll notice Johnson Boxes interspersed throughout the copy, often in different colored or shaded tables.

My theory of why they are so effective is this: These boxes tend to direct the readers’ eyes and force them to read their contents. They help to inculcate into the readers’ minds those key points you want to drive home.

There’s little your prospects will retain from your copy. But if you use Johnson Boxes, the likelihood they will remember their contents more — and over any other point stated in the rest of the copy — will be stronger.

Nevertheless, the moral is this…

Copy is not all about what you say. It’s also about what you mean.

About the Author

Michel Fortin is a direct response copywriter, author, speaker, consultant, and CEO of The Success Doctor, Inc. Visit his blog and signup free to get tested conversion strategies and response-boosting tips by email, along with blog updates, news, and more! Go now to http://www.michelfortin.com.

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14 Replies to “It’s Not What You Say, It’s How You Say It”

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  1. From For Your Health, Wealth And Blessing

    It’s Not What You Say, It’s How You Say It by Michel Fortin

    This topic really hits the nail on the wall. Many times we hear people saying that you should not be using graphics or photographs in salesletter as it creates distraction

    Source Website June 8th, 2005

  2. From Willie Crawford’s Marketing Insights

    When And How Should You Use Graphics On Your Webpage

    We’ve all heard anecdotial tales of webpages doing substantially better when distracting graphics were removed. The point of whether the…

    Source Website June 18th, 2005

  3. From When to use highlight/italics/bold… - Copywriters Board

    [...] Re: When to use highlight/italics/bold… - Today, 02:29 PM And old article I wrote many moons ago… It’s Not What You Say, It’s How You Say It » The Michel Fortin Blog Michel Fortin TheCopyDoctor.com [...]

    Source Website December 6th, 2006

Comments

  1. From ken calhoun

    Brilliant comments as usual, Michel. I wasn’t aware of the importance of borders, johnson boxes (never heard of ‘em til you taught me), drop caps, and all the rest of the graphics elements that enhance the written sales copy elements. The overall “package” and sales process you teach is phenomenal, and I use it to make higher sales now in all my niches. Appreciate your insightful comments - they help improve sales significantly.
    -ken

    Author's Website May 26th, 2005

  2. From Also from Ottawa

    I also find that adding little graphic imagery to the boxes works as well. For example adding exaggerated graphical quotation marks to point out that it’s someone else’s quote.

    Author's Website May 26th, 2005

  3. From Joe

    Not a bad article and certainly something to think about.

    Author's Website May 26th, 2005

  4. From Mac

    Interesting. I know Brian Keith Voiles is vehemently opposed to placing testimonials in colored boxes. He prefers them to ‘flow’ seamlessly within the copy.

    But then what you’re saying makes sense… given the speed at which web visitors skim a web page. And you can’t argue with testing, right?

    Author's Website May 26th, 2005

  5. From Gene

    Nicely done Michael.

    I wonder if any of the readers caught the reversal of a common web parctice - links on the RIGHT side. (Pun intended.)
    Notice how the text flows in reading when there are no intruptions at the beginning of the text line. The eye is not distracted from the copy by jumping over, and hard not to pause and read left-hand distractors, before resuming reading the next line.
    This goes against what is in common practice in web design, but then, most web designers only follow the leader.
    Once the article is completely read then our reader can go back up and pick out those right links now knowing what the entire article was all about and select what may seem appropriate.
    A single vertical line (fence) would contain the readers eyes even more.

    ere

    Author's Website May 26th, 2005

  6. From Rob

    Great articles, you always have excellent content that can be used immediately to improve results.

    You are the man!

    Thanks a million

    Author's Website May 26th, 2005

  7. From Diana

    How does this tie in with using correct grammar and punctuation? I had a copywriter tell me that he deliberately makes certain grammatical errors because it produces results, such as that leaving out periods to increase readibility. This gentleman also uses a lot of ellipses (… and –, for example) instead of ending sentences at logical stopping points.

    It drives ME nuts as a reader but I honestly don’t know if or how much such tactics improve readability.

    Author's Website May 26th, 2005

  8. From Loperman

    You’ve translated one of the most stiking statistics I ever encountered in my sales career:
    According to an Albert Methrabian study, Communications Week, 9/92, here are the actual percent rankings of the three components of verbal speech, what each conveys:

    The words themselves 7%
    The intonation 38%
    Visual cues 55%

    Astounding, how little part words themselves play.
    In written communication we are deprived of 93% of what we rely on for face to face.
    So what to do in copywriting? You use tone, attitude, connotation, variety of locutions, metaphor etc., to do what intonation and visual cues otherwise do. Or, as you say, Proxemics, Haptics and Kinesics, tranlated and incorporated into the ambient, the mileau or ground on which the figure (written words) reside.
    Good article, Mike!

    Author's Website May 26th, 2005

  9. From Mike Sigers

    Michel,

    This is an absolutely great post. I have copy/pasted and printed it and added it to my ” read this weekly ” file.

    There’s more value here than in some $29.97 - $49.97 ebooks and/or tele-seminars.

    Once again, you’re the man !

    Life’s short…blog hard !

    Author's Website May 26th, 2005

  10. From Colin Arthur

    Brilliant insight Michael,
    You have eloquently touched upon a vivid picture of success using the fragrance of a sweet tasting concept that can add sales muscle to written communications.

    A story, with a clever script can emotionally touch your heart especially if the music matches the visual.
    You have re-affirmed to me that we all learn in different ways.
    Keep ‘em coming
    Colin Arthur

    Author's Website May 27th, 2005

  11. From jay turner

    Excellent, useable tips.
    Having been a client of Michel Fortin’s, we at Group M can vouch for Fortin’s graphical triggers. They work. His handwritiing on the web page is also extremely good for boosting response.

    Author's Website May 30th, 2005

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