Who The Hell Is Writing Your Copy?

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I read about another dying orchestra last week, so I went to their marketing materials to look for signs of trouble. There I found this blurb:

Blurbology 2

 

 

 

 

 

 

 

The purpose of sales copy is to persuade customers to buy tickets. And the best way to persuade customers to buy tickets is to answer the question, “Why would I want to go to that concert?”

The copy above is just impotent drivel written by someone who knows nothing about sales, let alone strategic messaging, and approved by an executive leader who, when it comes to vetting marketing materials, is incompetent. Sadly, it could have appeared in just about any orchestra’s season brochure.

Imagine yourself sitting in a busy Starbucks where the gal sitting next to you is a smart, 28-year-old tech executive who, as it turns out, played clarinet in her high school orchestra. You get to chatting and you decide to persuade her to come to your upcoming concert, so you lean in and say, “Written at the edge of the Baroque Era, the symphony uses a concerto grosso format to pull the curtain on the era as music transitions towards a new Classical aesthetic. At the opposite end of the spectrum, Prokofiev’s “Classical” Symphony, in imitation of Haydn, exemplifies Neo-Classical style in the 20th Century.”

Suddenly the Starbucks falls dead silent as everyone in the store freezes and stares dumbfounded in your direction. The gal you’re talking to looks nervously from you to the frozen onlookers then back to you where she’s trying to decide if this is a weird joke or she’s talking to a lunatic. She shrugs uncomfortably and, as the din begins to rise again, makes a quick excuse then runs out of the store while you, with yet another empty seat on your hands, sit there cursing the educational system for making her run away.

Now come on. Seriously. What would you say to her? How would you describe that concert to convince a real live human being that it was worth her time and money? You’d probably say something like this: “We started with a symphony that Haydn wrote in the mid 1700s and then paired it with a symphony that Prokofiev wrote – in Haydn’s style – some 170 years later. Both pieces are gorgeous examples of their eras, so you get the entertainment value of listening to great live music, but the whole experience becomes more fascinating because of this extraordinary connection.”

Good sales copy is spoken language written down. Period. End of story. If you wouldn’t say it, for god’s sake, whatever you do, DON’T WRITE IT!

Classical music organizations that let inexperienced, inexpert, amateur marketing staffers fill their brochures with silly, pretentious, didactic nonsense can’t complain about not selling tickets – because they’re not actually selling tickets. And executive leaders who vet and approve this kind of non-strategic bullshit in their sales collateral have no one to blame but themselves for their organizations’ failures. 

If you want to sell tickets, you have to talk to real, live human beings in a language they understand about how your products will make them happy. If your organization can’t figure out how to do that, you’re probably too far out of touch with your community to be able to survive.

Arts Marketing Doesn’t Work Because It’s Irrational

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I mentioned two posts ago that good marketing is based on a logical formula that looks like this:

We know you want x

We offer x

Thus we can reasonably project that you will do y

The x is the product you sell, of course, and y is the behavior you expect from your customers, i. e. “We know you want a great night out featuring dining, socializing and high quality artful entertainment. We offer a great night out featuring dining, socializing and high quality artful entertainment. Thus we can reasonably expect that you’ll come to our destination with your friends or family, patronize one of our nearby restaurants, and experience a high quality performance event in our venue.

Spock SmilingWhen I studied classical rhetorical theory in grad school (don’t go away; this is good stuff) I learned that the first two parts of this formula are indispensable components of the persuasion process. Aristotle himself said that if you want to get somebody to think a certain way or do a certain thing, first you have to know what they need or want, and then you have to describe how your product will satisfy their yearnings. It’s a surprisingly simple yet immensely powerful idea that smart businesspeople, preachers, politicians and scoundrels have been using for the last 2,500 years.

Sadly, however, it’s an idea that’s completely lost on arts organizations.

In the arts we tend to ignore the first part of the equation and instead slip in all sorts of self-serving alternatives that don’t have the same impact:

We assume you want x

We hope you want x

We think you should want x

We think you need x because we believe it’s good for you

We’re really excited about x

x is so wonderful that your wanting it shouldn’t matter

Our artistic director has staked his career on the expectation that you want x

We knew your grandparents wanted x fifty years ago, but we’re too lazy to find out what you want now

We’re only interested in donors, subscribers and members who want x

Our marketing department actually knows what you want, but our executive director thinks you want x and he approves all the marketing

We think that if we find a clever enough way to get your attention you’ll want x

We’re celebrating our 25th gala anniversary of x

Alec Baldwin wants x

We’re too afraid that you don’t actually want x to find out what you do want

Plug any of these into the strategic equation and you’ll quickly discover that they don’t work. Logic doesn’t function that way. If we want the third part of the equation to remain constant and predictable, the first part has to be grounded in fact, and it must exist in a precise, rational, causal relationship to the second so that, together, they point to an inevitable outcome:

We know you want x

We offer x

Thus we can reasonably project that you will do y

If you want to learn in advance whether your marketing messages are optimally, rationally persuasive, ask yourself these questions:

Have we gathered enough objective, external evidence to know for a fact what our target audiences want?

Have we done a good job of describing how what we’re selling will satisfy our target audience’s stated yearnings?

Since the second question is entirely dependent on there being an affirmative answer to the first, there’s really only one question worth asking. And if the answer isn’t yes, there’s no logical reason to proceed.

Have you gathered enough objective, external evidence to know for a fact what your new audiences want?

If You Have To Say You’re Doing Engagement…

I’ve noticed that many arts organizations are including “Community Engagement” sections on their websites and listing engagement activities as if they’re some sort of program offerings or one-off events. One venerable classical music institution says that their education and community engagement programs:

“…offer individuals of all backgrounds an opportunity to develop their relationship with the [organization] and build their ownership of and engagement with orchestral music through high quality, relevant, multi-leveled, and interactive education and community engagement experiences.”

How lucky those little community members must be to have such a high-minded institution offering them this incredible opportunity. (This didn’t come out of a grant application, these people actually published this on their website.)

The thing about engagement that arts organizations don’t get is that it’s not something you talk about or, god forbid, offer to people; it’s what you are. Publishing a list of community engagement programs on your website is like printing a list of interpersonal behaviors on your business card:

Friendly smile √  Firm handshake √  Eye contact √  Warm greeting √  Remembers name √

If you had such a business card handed to you, you’d think the person was an idiot. Good interpersonal skills aren’t something you telegraph in printed materials, they’re something you exhibit naturally, or by practice if necessary, in the presence of others. For arts organizations, this translates into being naturally engaging throughout the entire organization as a part of your everyday interaction with the world around you. If you’re not doing it, no amount of promotion will compensate for its absence. And if you are doing it, you won’t need to talk about it on your website.

Sadly, the copy above shows how wide the gap still is between arts organizations’ willingness to do engagement and their ability to be truly engaging.

 

 

Arts Marketing Workers Unite! The Time to Organize is Now

The arts are facing a catastrophic audience crisis and American arts marketing is a mess:

  • It is governed by executive leaders who have no professional marketing expertise
  • It is shackled by outdated, counterproductive, nonprofit traditions
  • it is self-centered rather than audience-centered
  • It is isolated from the broader marketing profession
  • It is under-valued and under-supported relative to its necessity
  • It is inconsistent in terms of titles, job descriptions and compensation
  • It has no self-governed infrastructure for professional development
  • It offers severely limited opportunities for career growth
  • It is not being used to solve the problems it exists to solve

By organizing to address these issues, arts marketers can put the industry back on a path toward solvency and productive growth.

1. The arts industry is filled with talented, educated, motivated young marketers who are regularly overruled by inexpert executive leaders. By organizing, young arts pros will have the collective authority and sector-wide backing they need to insists on professional alternatives when inept leaders make bad marketing choices.

2. Many marketing traditions that older arts leaders insist on perpetuating were designed to appeal to twentieth century patrons who are now dead. By organizing, arts marketers will have the power, knowledge and tools to they need to reconnect with the marketplace and learn how to engage with living audiences.

3. Effective marketing focuses on the customers and how the product will satisfy their needs or desires, while arts marketing focuses exclusively on the virtues of the product. By organizing, arts marketers will be able to redirect the industry’s communications focus toward the customers on which its future depends.

4. Arts marketing is an isolated, amateurish enterprise that is largely unconnected from, and thus uninfluenced by, the broader marketing profession. By organizing, arts marketers can identify, establish and strive to maintain professional standards that transcend parochial arts industry norms and expectations.

5. Only marketing can save ticket-sales-dependent organizations that need a constant supply of new paying customers. By organizing, arts marketers can ensure that the industry supports marketing in a manner consistent with its importance, and that it recruits and compensates marketers according to their value.

6. Arts marketers have a right to expect basic consistency in titles, job descriptions and compensation levels across the industry. By organizing, marketers can establish benchmarks to which organizations throughout the cultural sector can adhere in order to ensure fair treatment and career stability.

7. The fact that American arts marketing workers have no formal, self-governed mechanism for furthering professional development is an embarrassment. By organizing, arts marketers can develop industrywide training and accreditation processes that will ensure productive career growth and highest-possible job performance.

8. Good marketers seldom ascend to leadership positions in the arts (a fact that explains why the industry fails to attract and keep good marketers, and why arts organizations have so much trouble selling tickets). By organizing, arts marketers can establish sensible career paths that position marketing professionals for leadership roles.

9. Because there are so few leaders among arts executives, or in the funding and policy communities, who possess legitimate professional marketing expertise, arts marketing is not being used to solve the problems that it exists to solve. By organizing, arts marketers can take control in a leaderless environment and assume authority for moving the industry in a more decisive, sustainable direction.

These and other issues point to a clear need for a well organized collective of arts marketing professionals. Whether a union, guild or association, arts marketers must come together to address problems that only professional marketing can solve.

The choice is clear: Unite and lead, or continue to follow “leaders” who don’t know where they’re going.

 

 

 

 

Sylph-centered Arts Marketing

Got this brochure recently from the reanimated San Diego Opera…

SD Brochure

 

 

 

 

 

 

 

 

… and couldn’t help noticing its kinship with the Atlanta Symphony Orchestra’s season brochure, which features images like this:

Atlanta Sylph

 

 

 

 

 

 

 

 

I wrote a few weeks ago about SDO’s post-crisis brochure, which featured a short white man in a brown suit, and I think this might be a marginal improvement, but I can’t help wondering what’s up with the flying babes. What the hell do sylphs have to do with selling tickets and why are two of America’s most notoriously troubled arts organizations featuring them in their marketing materials?

Do these organizations know something we don’t know about the persuasive power of sky spirits? Or is it possible that inane marketing choices are a shared characteristic of failing arts organizations?

In professional marketing, images that appear in sales collateral are chosen according to market intelligence and they’re designed to leverage actual audience dispositions. Given my experience with nonprofit arts organizations, I’m going to guess that these images were chosen by amateur insiders according to personal opinions and designed to look nice.

If the creators of these materials had access to objective research data and were designing sales messages in response to what target audiences told them they were looking for, sylphs would never have been a consideration.

Executive leaders of arts institutions that don’t sell enough tickets should understand this.

If they don’t, we may have a clue as to why they’re in so much trouble.

Arts Marketing Wouldn’t Suck So Much If It Were Like This

I came across this ad for Android devices today.

Watch it and pay close attention to these things:

  • The ratio of content featuring customers vs. content featuring the product
  • The fresh, down-to-earth, colloquial, customer-centric language
  • The emotional impact of customers engaging with the product
  • The emphasis on YOU (meaning the customer)
  • The diversity of the customers shown enjoying the product
  • The fresh, professional, contemporary production values

Now go get your last season brochure and pay attention to these things:

  • The ratio of content featuring customers vs. content featuring the product
  • The fresh, down-to-earth, colloquial, customer-centric language
  • The emotional impact of the customers engaging with the product
  • The emphasis on YOU (meaning the customer)
  • The diversity of the customers shown enjoying the product
  • The fresh, professional, contemporary production values

In my last post I drew attention to some shamelessly egocentric marketing materials that were produced by big financially troubled arts institutions (Minnesota Orchestra, Atlanta Symphony, San Diego Opera). This Android ad, by demonstrating so well what good marketing is about, shows exactly why those arts marketing materials are so bad:

  • Their content is entirely about the product
  • Their language is canned, stuck up, artsy and self-centered
  • They tell customers what they should feel rather than showing them how they will feel
  • Their emphasis is on US (meaning the product)
  • There is no diversity of customers shown enjoying the product because there are no customers shown enjoying the product
  • Their production values are stale, amateurish and old-fashioned

Make no mistake. The blame for failing to attract sustaining audiences lies squarely with executive leaders who allow their organizations to do narcissistic marketing.

When troubled arts organizations start developing marketing content that’s about new audiences – and how their products will make those audiences happy – they’ll earn the customers they deserve.

Arts Leaders’ Egos and Bad Arts Marketing

In my last post a reader took issue with my having suggested that executive arts leaders’ egos might have something to do with bad arts marketing.

Please allow me to be more direct.

The egos of executive arts leaders have everything to do with bad arts marketing. Arts marketing sucks because so much of it is developed to feed the egos of executive arts leaders.

The reason arts marketing is overwhelmingly self-centered, self-important and self-aggrandizing is that executive arts leaders with healthy egos and little professional marketing expertise make all the final marketing decisions. Asking an arts executive to approve a brochure filled with shameless self-flattery is like handing a loaded pipe to a crack addict. They can’t help themselves. They don’t really know what professional, customer-centered marketing should look like, and since there’s no one to stop them, they’ll approve the marketing they believe is the best reflection of their organization’s worth. And since the reflection of their organization’s worth is also a reflection of its leaders’ abilities, they will inevitably go for the content they find most flattering.

In the real world, effective marketing strategy begins with the customers and is designed in response to their desires and expectations. Professional marketers develop their strategies to leverage those dispositions, which means keeping their focus on the customers. And executive leaders who manage these marketers know their role is to approve the methods and materials that do this most effectively. Smart business leaders may have personal opinions about marketing, and they may think their products are worth crowing about, but they understand that their job is to let objective market intelligence and rational, customer-centered methods take priority.

In the arts, meanwhile, marketing begins with the products and what organizations want to tell the world about their merits. After various promotional ideas have been mocked up, arts leaders use their professional discernment (a.k.a. personal opinions) to choose what they they think looks best or feels most appropriate or fits best with industry norms and traditions. And since industry norms and traditions consist primarily of inexpert arts leaders choosing the best reflections of their organizations’ worth, self-flattery will always win the day. This dynamic is so much a part of the culture of culture that we as an industry accept narcissistic marketing unquestioningly, as if it’s a given. “Why wouldn’t we boast about ourselves? We’re wonderful! People should know that. And the more wonderful we tell them we are, the more likely they’ll be to want to buy tickets.”

Makes a great dating strategy, too!

This is the point where the executive leaders I’m talking about say,

“Well of course he’s not talking about me. I’m a respected arts executive. I’m too wise, perceptive and accomplished to make such poor decisions. Why, I’m the boss of a big city arts institution; I oversee the marketers so I am automatically a marketing expert. My thoughts on audience development have even been published in the Sunday newspaper! Besides, I’ve been vetting promotional materials for years and doing a damn fine job of it. This chronic decline in audiences has nothing to do with me. Now if you’ll excuse me I have a budget crisis to deal with and artists’ salaries to cut.”

If you’re an executive arts leader who’s in a position to govern your organization’s marketing choices, and you learned what you know about marketing on your way up through the nonprofit arts, it is highly unlikely that you have sufficient professional expertise to save an organization that’s losing audiences. The nonprofit arts are a terrible place to learn marketing and you have undoubtedly learned an outdated, idiosyncratic, mid-twentieth century brand of “promotional” marketing that doesn’t work anymore. Arts marketing is a quirky, tradition-bound, quasi-professional endeavor that bears little resemblance to the full-on professional marketing that successful leaders will need to master keep their organizations alive.

Poor old Ian Campbell thought he was making wise marketing decisions right up until he scuttled the San Diego Opera – for lack of audiences. Leaders at the Atlanta Symphony Orchestra thought they were making wise choices when they approved this bizarre brochure – just before locking out their musicians. And the leaders at the Minneapolis Orchestra no doubt believed their monumentally self-adulatory brochure was the best of all possible choices – to spring back from the brink of disaster. All executive leaders of struggling arts organizations think they’re making the best possible marketing choices – even when they’re woefully underprepared to make those choices and their organizations are falling apart around them.

There was a time when the marketplace was so full of people who wanted what the arts had to sell that we could be as self-centered and boastful as we wanted and people would beat a path to our doors. But the world has changed; there are far fewer avid arts fans out there who find our overly generous self-assessments appealing. Every arts leader has heard this admonition a thousand times, but at some point it has to actually influence behavior: IT’S NOT ABOUT US ANYMORE. You can’t just nod in agreement when people say this at industry conferences and then come home and publish marketing materials that are all about you; you actually have to make it about them.

If you want to sell something to somebody, you have to tell them how it will satisfy their desires. It’s one of the oldest truths known to humankind. But in the arts, we don’t really know who our new audiences are, we refuse to learn what they want, and without knowing what they want, we can’t tell them how our products will satisfy their desires. So instead we blather on endlessly about how wonderful we are – or how wonderful people should think we are – and hope that young, culturally diverse people will somehow magically find us as appealing as traditional audiences once did.

I’m well aware that I’m just pissing in the wind here. Executive arts leaders won’t read this because they just don’t pay much attention to marketing. In my experience they show little interest in learning how to do it well because they’re perfectly comfortable with what they think they already know. (I’ve never seen an executive arts leader at a marketing conference, have you?) You’d think that leaders of an industry that’s facing a catastrophic decline in customers would be rushing out to get marketing MBAs, but no. It’s easier to complain about how poorly the rest of the world is being educated than it is to get the education they need to solve their own problems.

The answer to the arts’ audience crisis is heartbreakingly simple: know your new audiences well enough to understand what they want, and then speak to them humbly and honestly, in a language they understand, about how your products will make them happy. Out-of-touch arts administrators who hole up in conference rooms filling brochures and emails with canned, amateurish, self-congratulatory bombast, and then spraying them at the world in hopes of hitting like-minded fans, simply aren’t going to survive.

‘Monumental’ Adjective Abuse at Minnesota Orchestra

Here are some words that executive leaders at the Minnesota Orchestra like to read about themselves in their marketing materials. All were published in just one post-fiasco season brochure:

Extraordinary, brilliant, celestial, dazzling, festive, stunning, shimmering, beautiful, star-studded, never-to-be-repeated, heavenly, glorious, wonderful, tragic, heartbreakingly, sprightly, treasured, superb, brilliant, monumental, tremendous, thrilling, stellar, magnificent, sensual, shocking, radiant, majestic, lush, enthralling, amazing, phenomenal, shining, beautiful, lush, characterful, stirring, distinctive, triumphal, charismatic, brightest, world-class, priceless, thrilling, most famous, lush, romantic, richly dark, tragic, star-crossed, thrilling, tragic, cinematic, comic, most-popular, utterly charming, gorgeous, stirring, wonderful, famous, remarkable, brilliant, striking, timeless, legendary, wonderful, dramatic, lyrical, dramatic, lovely, illustrious, soaring-voiced, spine-tingling, profound, ethereal, beloved, world’s greatest, fantastic, heartrending, unforgettable, greatest, most soul-stirring, transcendent, exquisite, enchanting, always-zestful, magnificent, deeply spiritual, ground-breaking, exciting, demanding, outstanding, blissful, thoughtful, witty, nostalgic, multi-faceted, fiery, famous, other worldly, stirring, great, distinguished, breathtaking, dancing, lyrical, extraordinary, marvelous, youthful, vigorous, esteemed, exhilarating, dance-infused, wildly popular, inimitable, preeminent, magically, mysterious, triumphant, epic, celebratory, historic, glorious, top-class, revered, hottest, immortal, jubilant, renowned, distinguished, extraordinary, delectable, magical, soulful, distinctive, organic, meditative, powerful, spiritual, romantic, glorious, perfect, special, bubbly, magically, rich, first-ever, stunning, wonderful, exquisite, wide-ranging, thrilling, classic, popular, beloved, festive, extraordinary, imaginative, stunning, phenomenal, captivating, beloved, ever-popular, timeless, transcendent, greatest of greats, beloved, stellar, multi-talented, uniquely, consummate, monumental, unforgettable, wonderful, glorious, funniest, bona fide, genuine, dazzling, esteemed, riotous, beloved, great, fantastic, heartrending, unforgettable, greatest, most soul stirring, pure, unadulterated, historic, legendary, glorious, extraordinaire, wondrous, beloved, lively, famous, popular.

Here’s a word that describes the professional qualifications of executive leaders who would approve this much hyperbole in one piece of sales collateral:

Dubious.

Here’s a word that describes the marketing team that would produce such a brochure:

Mismanaged.

Here’s a word that describes funders who allow their financially troubled grant recipients to do this sort of amateur marketing:

Irresponsible.

Here’s a word that describes an industry that accepts untethered, narcissistic bombast as acceptable language for public communication:

Leaderless.

And in case it isn’t obvious, here’s a word that describes the seats that might otherwise be filled by new audiences who need to be spoken to in a normal, sane, humble, down-to-earth, customer-centered persuasive language:

Empty.

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