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Preface

Like magicians with their props or fishermen with their time-tested lures, advertising copywriters rely upon a handy assortment of contrivances for seducing an audience. A copywriter’s tools are words, and the most effective tools are words that sell. Infallible adjectives like luxurious and irresistible. Ageless phrases like a lifetime of satisfaction and right at your fingertips. And, of course, that sturdy old standard, FREE!

This volume represents an attempt to gather the most potent of these words and phrases into a single sourcebook. To compile this material, I rummaged through mountainous stacks of magazines, newspapers, direct-mail packages, and catalogs. I kept an ear open for compelling phrases that I heard over the radio and on television. I checked my e-mail for the occasional gold nugget embedded in the spam. I raided my own copy files, consulted more than one thesaurus, and, after organizing the entries into lists, added still more words and phrases as they came to mind. I rejected those entries that seemed to fall flat in print, and I shunned any slogans that were closely identified with specific products.

Think of this book as your personal magic kit—or, if you prefer, a bottomless tackle box filled with glittering lures. Use it whenever you require inspiration on short notice. Browse through its lists at leisure to expand your repertoire. With this book at your side, you’ll be able to go straight to the words and phrases that suit your needs. Instead of groping for words, your mind will be free to focus on the real task of advertising and other promotional writing: shaping a message that generates an enthusiastic response from your audience.

Introduction to the 2nd Edition

Those of us who write reference books enjoy a special privilege denied to practitioners of fiction. Unlike novelists and short story writers, we’re free to keep revising and improving our work after it has made its debut in print.

Just try to imagine a second edition of David Copperfield or The Great Gatsby with “twice as many pages … hundreds of vivid new phrases … dozens of additional characters … intriguing new plot developments … new surprise ending!” Not on your life! But a book like Words That Sell was the perfect candidate for just such a revision.

Not for Copywriters Only.

When I completed the first edition back in 1984, I was satisfied that I had created a useful little idea starter for my fellow advertising copywriters. But within months of the book’s publication, it became obvious that this was no mere thesaurus for professional scribes like me. Word of Words That Sell spread rapidly throughout the advertising and marketing fields. It made its way into the hands of entrepreneurs, public relations professionals, sales reps and their managers, CEOs, corporate team builders, motivational experts, and, most recently, Webmasters with sites to promote.

Probably the most gratifying moment for me came when the new president of our company made his first tour around the building. Not knowing who I was, he remarked: “I see you have a copy of Words That Sell on your desk. That’s one of my favorite books.” (I should add that our relationship deteriorated from there.)

The Need for Revision.

My little phrase book had made its mark. But I wasn’t content. When I wrote the first edition, I was a young copywriter toiling for modest wages at a Long Island publishing company. I’m not sure I knew the difference between a product feature and a benefit in those days. As I matured and gained more knowledge in my field, I longed to create a more comprehensive version of Words That Sell that could function as a serious reference tool. Now I’ve been granted the opportunity to do just that. Let me tell you what I’ve done.

Nearly Twice as Many Entries as Before.

If you have the first edition around for comparison, you’ll notice that the new Words That Sell has more words. Lots more of them. With nearly twice as many entries at your disposal, you’re nearly twice as likely to find a word or phrase that hits the mark. Yet we’ve managed to add all those new entries without significantly expanding the bulk (or the cost) of the book. How did we do it? The first edition had an abundance of white space, which may have been pleasing to the eye but sometimes gave the impression of skimpiness. For the second edition, we sacrificed some of that white space and simply packed more words onto each page.

At the same time, I’ve been careful not to go overboard in adding new entries. When you need quick inspiration, you don’t want to scour a list that’s as long as the Declaration of Independence. I’ve tried to maintain a healthy balance between inclusiveness and brevity, which is sort of like trying to be a moderate on the issue of vegetarianism. I hope I’ve succeeded in offering you an optimum number of entries for each list.

New Lists of Words and Phrases

I’ve made the existing lists longer, yes, but I’ve also added new ones where I thought the book needed them. For example, the old edition had no lists to convey the concepts of “competitive,” “fast,” and “good-looking” (to name three qualities that we as a culture have come to prize, for better or worse). I’ve added these lists and many more under “Descriptions and Benefits,” the main section of the book.

I’ve also beefed up the “Grabbers” section with a long list of lively envelope teasers that shout, “Open me!” And I’ve enhanced the “Clinchers” section with lists of phrases to use in your call to action, P.S., and lift note.

A Minor Reorganization

If you own the first edition, you’ll see that I’ve deleted the section formerly known as “Terms and Offers.” Maybe deleted is the wrong word: I’ve actually broken it up and redistributed its lists under “Grabbers” and “Clinchers,” where they probably belonged in the first place. Now the book has only four sections of lists instead of five, and it should be that much easier to find your way around. I’ve also broken up some of the old lists (“Reliable/Solid,” for example) wherever I thought the two conjoined concepts really called for two separate lists.

Updated Language

You’d expect the language of advertising to have changed radically since I compiled the first edition. After all, during that time we’ve moved from “Please don’t squeeze the Charmin” to the upscale retro-posturing of the late J. Peterman catalog to the age of hip-hop and beyond. But the words that motivate the human spirit have remained relatively constant. We’re still obsessed with status, security, comfort, fear, convenience, money, and all the other primal preoccupations of our species throughout the centuries.

The shift in our selling language since the first edition has been subtle but still noticeable: There’s more informality, especially in letters and brochures. More contractions. Fewer dependent clauses and other complicated syntax. Not as much earnest paternal lecturing and a little more attitude. Fewer exclamation points. (After all, most of us want to appear cool, and it’s not cool to exclaim. All those exclamation points look like little droplets of sweat on the forehead.)

I’ve loosened up the language in Words That Sell, but I haven’t gone out of my way to tailor it to this year’s fashions. You’ll notice the occasional “extreme” or “slam-dunk,” but for the most part we’re still looking at classic selling language. In fact, I’ve kept most of the earnest old phrases that edgy copywriters at “boutique” agencies would dismiss as hopeless clichés (including “works like magic” and “right at your fingertips,” to name a few hoary veterans that still pack a potent punch). But I’ve finally weeded out others that were starting to sound like relics of the Eisenhower administration. Does anyone still say Seeing is believing? Maybe in a few scattered nursing homes.

Now It’s Up to You

So there you have it: a revised, enhanced, updated, slightly reorganized, and significantly expanded edition of Words That Sell—a book with roughly twice the power of its predecessor to enliven your copy and convert browsers into buyers. The surprising popularity of Words That Sell over the years has shown me that you don’t always need to hire an ad agency to create effective advertising. You don’t even need to be a professional writer. What matters is that you have the desire to sell from the heart, the savvy to reach your audience, and the determination to succeed. That and a good thesaurus will help you go miles toward accomplishing your goals. I’m happy that you’ve bought the new edition of Words That Sell. I hope you use it regularly and profitably.

How to use this book

At some time in your life, you’ve probably used a thesaurus—a reference book filled with lists of synonyms. Words That Sell is a thesaurus of words and phrases used in advertising and other promotional writing.

As in any standard thesaurus, the entries are organized by topic. Look up “Stylish,” for example, and you’ll find terms like elegant and smashing. Under “Convenient” you’ll encounter easily accessible and take it anywhere. But this book departs from the usual thesaurus in several respects:

Words That Sell is organized into sections that correspond with the natural progression of sales literature from beginning to end:

1. GRABBERS

The teasers, headlines, slogans, opening statements, provocative questions, and other attention-getters that pull your audience into your message.

2. DESCRIPTIONS AND BENEFITS

The words and phrases used to convey the compelling qualities of your product or service. This is by far the largest section of the book, and you’ll probably be spending most of your time here.

3. CLINCHERS

The persuasive closing statements (including guarantees and ordering information) that can push an undecided reader over the response threshold.

4. SPECIAL STRATEGIES

The fourth section, “Special Strategies,” is packed with aggressive words and phrases for specialized purposes, from “Flattering the Reader” to “Selling Your Ideas.”

In each of the four main sections, you’ll find lists of words and phrases organized by topic. If you want to convey the idea of “big,” for example, go to the section “Descriptions and Benefits” and find the topic “Big/Many.” There you’ll see a long list of words and phrases that you can use. If you’re looking for an intriguing question to lead off your copy, turn to the section “Grabbers” and find “Opening with a Question.” The table of contents gives you the complete list of sections and topics.

The words and phrases under each topic aren’t necessarily synonyms—they’re simply useful expressions gathered in one place to help you express the idea you have in mind. Under “Sensory Qualities,” for example, you’ll come across words as disparate as ripe and windswept. Yet you’ll probably notice that similar expressions tend to gravitate together within a given list so that you can find what you need quickly and easily.

Many of the phrases contain blanks or trail off in an ellipsis (…). For example: Only …. gives you …. Here you’ve been supplied with the pattern for a phrase, which you can easily adapt to your needs by filling in the missing word and extending the phrase as you see fit.

A few words of advice before you start: for best results, familiarize yourself with the four-part format of Words That Sell. That way you’ll know just where to look for the topics you want. If one list doesn’t yield a word or phrase that nails your idea, use the cross-references (“For further inspiration, see:”) at the bottom of each list to continue your search elsewhere. The key word index at the back of the book will help you go to the right place if you can’t find a list that suits your idea.

Even this expanded edition of Words That Sell doesn’t pretend to be exhaustive. In the coming months and years, as in the past, I’m sure I’ll stumble across words and phrases that would have made first-rate entries. No doubt you will, too. When you find them, why not write them down under the appropriate topic and expand the collection. In time, my book will become your book—and that’s the way it was meant to be.

A Crash Course in Copywriting

An advertising copywriter uses words as tools to persuade and motivate an audience. You persuade your readers that you have something valuable to offer; you motivate them to acquire it for themselves. This is the essence of effective advertising, whether you opt for the hard sell or the subliminal suggestion.

The following guidelines, distilled from my own experience and that of other professional copywriters, should help you avoid some of the hobgoblins to which members of our tribe too often fall prey. At the same time—and with a minimum of trial and error—you’ll gain the perspective you need to start peppering your writing with “words that sell.”

Before You Write

  1. Gain firsthand knowledge of your product or service. Do a little research to get your facts straight. Gather your data from current sources of information (marketing fact sheets, product managers, recent copy). If it’s the kind of product you can hold in your hands (or read or taste or listen to), go right ahead. Live with it for a while and get the feel of it. Then look at your product or service as if you were the consumer. What features and benefits would attract you as a prospective customer?

  2. “Position” your product or service. How is it different from or superior to the competition? Who would use it? How would you define it in a single phrase? Positioning is critical if you want to develop a competitive (and ultimately successful) marketing strategy.

  3. Know your audience. Always gear your copy to the needs and tastes of your customers. Are they mass-market consumers? Upscale young professionals? Hard-boiled professional buyers with a bottom-line mentality? Executives in your field? Find out by checking the demographics of the media in which you’ll be advertising, or (in the case of direct mail) by obtaining a breakdown of your mailing lists.

  4. Plan your copy strategy. Decide how much copy you’ll need to convey the message. As a general rule of thumb (especially in catalogs), the length of your copy should vary in proportion to your company’s investment in the product. But not always. If your product is simple and its virtues self-evident, you don’t have much explaining to do. Other points worth considering: Do you want to develop a running theme that serves as a conceptual focal point for your copy? Do you want to advertise a line of related products? And be sure to coordinate your plans with the designer so that you’re both working with the same concept in mind.

When You Write

  1. Don’t lose sight of your primary goal: to sell your product or service. Your writing should be more than a flat presentation of the facts. (Remember that a copywriter must persuade and motivate.) On the other hand, don’t let runaway creativity bury the message. The most brilliant efforts will be wasted if your audience can’t remember what product you’re pushing. Write to sell.

  2. Stress the benefits. Resist the temptation to thump your chest on behalf of your company. It’s not “See how great we are,” but “See what we can do for you.” Show your potential customers how your product or service will make them happier, wealthier, more comfortable, or more secure. Write with their interests in mind. Once you make the transition from company-centered copy to customer-centered copy, that’s half the battle.

  3. Arouse interest. From the headline to the ordering statements, your copy should continually pique the reader’s curiosity. As you unfold the benefits, keep seasoning your copy with human interest, helpful tips, curious facts, colorful phrases—anything to heighten involvement in your story. And write so that your audience actually looks forward to hearing from you again—an accomplishment that means more in the long run than a one-time sale.

  4. Don’t fill your copy with empty overstatements. Too many words like fabulous and fantastic within a brief space will destroy your credibility. You don’t want your audience to dismiss you as a propagandist. Instead, try to convince the audience that your product is fabulous. Make them say, “That’s really fantastic!”

  5. Be accurate. Be sure you get the facts straight. Don’t leave yourself open to claims of false advertising by making statements that can’t be substantiated. Above all, be truthful. Resist the temptation to distort the facts in pursuit of an easy sale.

  6. Be specific. Don’t use hazy abstractions or approximations when you have a chance to create vivid images with simple, observable details. Would you rather eat a “frozen dessert” or a “raspberry ice”? And try to avoid the notorious “than what?” comparisons—for example, “lasts longer” (than what?) or “gets the job done faster” (than what?). Do everything you can to sharpen the picture.

  7. Be organized. Your message should progress logically from the headline to the clincher. Don’t bury essential information in the darkest recesses of your copy or lead off with trivia that stops the reader cold. Like an old-fashioned short story, your copy should have a beginning, a middle, and an end.

  8. Write for easy reading. Your style should suit the audience you’re addressing, but certain rules apply to all copy. Cultivate a style that flows smoothly and rapidly, a style that’s clear, uncluttered, involving, and persuasive. Avoid long, convoluted sentence constructions. Affect a crisp but friendly and extroverted tone. Communicate. You want to do everything possible to ensure that your message gets read.

  9. Appeal to the emotions rather than the intellect. You want your words to propel the reader to action, and nothing is so propulsive as human emotions. A cerebral approach might make your reader nod in admiration, but emotions are the fuel that can blast your message off the ground. Even when you’re writing for an audience of executives or college professors, don’t forget that, like all members of the human tribe, they’re motivated by gut feelings. Keep in mind that some advertising media are intrinsically less emotional than others. A brochure, for example, has to present the hard facts. It typically won’t generate as much emotional heat as a good sales letter. But it should still trigger an emotional response (“I want that!”).

  10. Don’t offend. Humor is a controversial issue among advertising insiders. Most direct-mail experts preach against it, but there’s no denying that humor can be an effective tool—if it suits the subject or the situation. (You don’t want to joke about insurance or funerals.) Sarcasm, cynicism, and other extreme forms of individuality are not likely to meet with mass approval. Don’t criticize your audience’s taste in clothes, music, pets, or anything else. Don’t preach. Be of a sunny disposition, and aim to please.

  11. Make use of testimonials and reviews. Satisfied customers can supply you with some of your most persuasive copy, because their pronouncements invariably come from the heart. These folks have actually tested the product and witnessed the benefits firsthand, and they simply can’t contain their enthusiasm. What better sales weapon could you ask for? Just be sure to obtain their permission first. If you have glowing reviews from publications or esteemed professionals in your field, be sure to quote them and display the blurbs in a prominent spot.

  12. Ask for the customer’s order. This is a sound practice, especially if you want the customer to order! Without a persuasive “call to action”—the brief, high-powered statement that impels prospective customers to buy and tells them how—you let your audience off the hook before you’ve closed the sale. They’ll finish reading your letter or brochure, smile contentedly, and drift back to sleep.

  13. Revise and edit your work. Cut out all dead wood; every word should pull its weight. (Advertising copy is like poetry in this respect.) Be your own critic. Check your facts, your syntax, your spelling. Make sure you haven’t left anything out. Then read your copy again before you submit it.

Categories of Copy

CATALOGS

Introduce your company’s entire product line, or a preselected portion of the product line, in a booklet filled with compelling product descriptions. Copy should be kept brief, crisp, and to the point; the reader must have instant access to key facts. Lead off your entries with powerful adjectives and verbs; avoid beginning with a flat “This …. is ….” Sentence fragments are perfectly acceptable—almost mandatory. Products can be grouped by category, price range, or any other system that makes sense. The only rule about grouping is to be consistent throughout. It’s generally a good idea to display related products together on a single page or spread; that way you’ll encourage multiple purchases. The opening spread, back cover, and order form are considered valuable “real estate” for selling your products. Still, you might want to add a brief, upbeat introductory message about your company in one of these areas; a friendly exhortation from the president is almost always effective. The order form should be bound in, easy to understand, and easily detached.

SELF-MAILERS

Are aggressive, relatively low-cost selling tools that generally focus on a single product or a small range of products. Everything’s there on one folded sheet: headlines, sell copy, visuals, call to action, guarantee, and order form. The ideal order form is a detachable return-response card, but a clip-out order coupon will do the job if you want to cut costs. Be sure to include your toll-free number and Web address in a highly visible location.

DIRECT-MAIL PACKAGES

Are the traditional workhorses of the advertising world: not the sort of medium that captures the public imagination, like a good TV ad campaign, but something even more admirable. These humble yet potent packages are filled with strategic devices that have been scientifically tested over decades to maximize consumer response. They’re ideal for spotlighting a single important product or a related series of products. Key copy elements include:

The Envelope Teaser

A boisterous one-liner that compels the reader to tear open the package. A teaser can be a tantalizing benefit (“FREE!”), a provocative question, or a juicy tidbit of information that promises more tidbits inside. But don’t ever promise something on the outside that you can’t deliver inside. Try to resist the current temptation to shout “URGENT—REPLY REQUESTED!” on every mailing. After all, we don’t want our public to grow more jaded than necessary. One more consideration: some experts contend that the best teaser is no teaser at all. (Your package will look more official and less like advertising.)

The Brochure

The folded, generally colorful broadside sheet that illustrates the merits of your product. Your copy should unfold in clear, logical prose, but the reader should be free to skip around and still absorb your message. Break up your copy into easily managed units with catchy subheads. Outstanding product features can be highlighted with bullets, callouts, or other visual attention getters. The photos and captions carry half the burden of selling your products.

The Sales Letter

Potentially your most effective selling tool: personal and persuasive like a one-on-one sales pitch, yet without the intense pressure that can force customers to keep their guard up. Where the brochure typically appeals to the reader’s intellect and curiosity, the letter must engage the emotions. Here’s your opportunity to infuse your advertising with living, breathing personality. Adopt a natural, unstilted writing style that follows everyday speech patterns: no as pers, hereins, or please find encloseds. The so-called Johnson box—a few boldface lines at the top to summarize your offer and entice the reader—is an effective response-boosting device. It takes some of the pressure off the opening paragraphs of your letter, so you can build a more leisurely personal argument without taxing the reader’s patience. If you want, you can vary the paragraph widths as a visual gimmick to hold the reader’s attention.

The Lift Note

The safety net of any direct-mail package. If your letter fails to convince your prospect, the folded lift note gives you a second chance. On the outside, you challenge readers with a provocative one-liner that compels them to look inside—especially if (as the typical lift note asserts) they’ve “already decided not to order.” When they open the note, your concise, heartfelt message plays upon their guilt. “Frankly,” you sigh, “I don’t understand why only 2 or 3 percent of you will take us up on this risk-free offer.” Then, in a few sentences, you sum up the compelling reasons to buy.

The Order Form

Not to be underestimated as a powerful selling tool in its own right. A good order form sums up your offer, highlights the product’s selling points, adds a compelling call to action, states your guarantee, displays your contact information, and provides space for the customer to order by mail. That’s a lot of responsibility for one little card. In fact, many experts consider the order form to be the single most important element in a direct-mail package. So pay special attention when you create order form copy. Make it upbeat (Yes!) and irresistible.

BUCKSLIPS

Are miniature ads (their name comes from their traditional size: roughly the same dimensions as a dollar bill) that are sometimes inserted in a direct-mail package along with brochures and letters. Use them to advertise a related product or a special premium. You don’t have much space to work with, so make your message loud and urgent.

STATEMENT STUFFERS

Are mini-brochures that are enclosed with invoices and other billing statements. Like buckslips, stuffers are limited by their diminutive size (and by the tendency of the recipient to chuck them away unread). You definitely have to shout to get attention. Use a dynamic “grabber” and crisp catalog-style copy with a simple order form on the back.

MAGALOGS

Are miniature magazines created and mailed by your organization. The good news is that you control both the advertising and the editorial content, so you can shape the entire publication as a subtle selling tool for your products. Your audience can involve itself in informative articles, colorful graphics, eye-catching sidebars, and other devices that heighten their involvement without subjecting them to relentless selling. The bad news is that magalogs are relatively expensive to produce and don’t offer you as much active selling space as a catalog or brochure of the same size. But if you have a complicated product with an abundance of features that would benefit from a leisurely editorial-pictorial treatment, a magalog might be just the right vehicle.

SPACE ADS

Are simply the printed ads that fill most newspapers and magazines. They are as various as breeds of dogs—from the sleek wolfhounds of Madison Avenue to the plucky mutts that yelp for attention in the back pages of men’s magazines. Yet successful space ads all share a few key traits: they grab the reader within seconds, they know their audience, and they convey a potent message within the confines of their allotted space. Large space ads tend to rely more on cool visuals than on earnest copy. The smaller the ad, the greater the importance of the copy (and the benefits). Copy is also paramount in direct-response space ads of all sizes. (Don’t forget to include a persuasive call to action and contact information.)

COMMERCIALS

Are essentially space ads broadcast over the airwaves. Unlike most other forms of advertising, commercials give you the advantage of a captive audience. You’re free to use humor if it suits your purpose (when was the last time you read a funny brochure?). Keep in mind that a well-written commercial follows the natural patterns of human speech; it pays to have a colleague read the copy aloud before you submit it. Direct-response commercials always include a call to action and the necessary contact information.

INFOMERCIALS

Are the televised equivalent of magalogs (see opposite). You grab a half hour of airtime (ideally in a low-cost, off-peak time slot), then build the entire show around your product. Everyone knows it’s a commercial, of course, but if you provide enough entertainment value and information, you’ll have a ready audience for your sales pitch. Like any direct-response advertising vehicle, an infomercial always culminates in a forceful call to action, with contact information prominently displayed and repeated for best results.

CARD DECKS

Are compact packets filled with dozens of ads on individual cards. When you write copy for a card deck, remember that your prospect is being bombarded with ads. Your copy must practically knock the reader over the head to be noticed. Grab your prospects with a short, punchy headline, then hit them instantly with the benefits and a strong call to action.

POSTCARDS

Are essentially miniature self-mailers. Unlike card decks, they don’t force you to compete with 50 other shouting voices. But you still need to grab the reader quickly and assertively. They’re quick and inexpensive—ideal for easy-to-explain products or as the first part of a multistep selling strategy (ask your reader to send for your catalog or log onto your Web site).

YOUR WEB SITE

Is just an online store, right? Think again. A good Web site is actually a powerful brand statement as well as an extended ad for your products or services. Like a magalog, it entices readers with information they can use … it involves them with your product line and motivates them to order from you. Unlike magalog copy, Web copy should be brisk and concise enough to hold an impatient audience. (Think of Web surfers as jackrabbits hopping around as their whims dictate.) On your home page especially, use pithy teaser statements to encourage your audience to click on each link. Use subheads to break up your copy, but not so many of them that you clutter the page. Give your site a distinct personality. Keep it professional, but don’t try to sound like everybody else.

E-MAIL SALES LETTERS

Are probably the last refuge of long advertising copy in the electronic age. Your copy approach should mirror what you’d do for a printed sales letter: tell a compelling story, involve the reader, offer tangible benefits, and invite response with a persuasive call to action. E-mail letters offer a few key advantages over the paper-and-ink variety. They’re cheap to create. They don’t require postage. And they can link to your site—directly to the offer page, if you like. (What better response vehicle could you imagine?) The trick is to overcome the public resistance to spam, which, if possible, is even greater than the public resistance to “junk mail.” (Note: Try to avoid sending unsolicited e-mails. Instead, gather your own list of prospects who click on your banner ads or register at your site. Your response rate should shoot skyward, and you won’t have to worry about the spam police.)

E-ZINES (a.k.a. online newsletters)

Are among the cheapest and most effective media ever developed for nurturing that critical relationship with your customers. Think about it: you provide informative content that your customers look forward to reading, and you can relax from the hard-sell tone of your catalogs and sales letters. Your chatty, offbeat approach enables customers to let down their guard and get actively involved with your message. You can personalize your e-zines, test different offers, and gain new prospects through customer referrals. Sounds almost too good to be true. The key is to keep coming up with fresh, interesting content.

Are like miniature billboards that entice Web surfers to visit your site. With their flashing, blinking, gyrating graphics, you could almost compare them to seductive flames attracting moths in the night. The object, of course, is not to zap the visitor to a crisp but to generate a clicking response. Though it seems obvious, you should always include the words “Click here” on a banner ad. Display your URL, too—just to impress it on the prospect’s mind with repeat viewings. That doesn’t leave much room for creative copy, of course. But an animated ad gives you two or three shots at persuading the viewer. A good banner ad creates instant awareness of your site, and you can select a targeted plan that shows your ad only to prospects who click on related subjects.

POP-UP ADS

Are the scourge of the Internet: pesky intruders that suddenly superimpose themselves over Web site content that you’re trying to read. I don’t know anyone who likes them, and they hurt our cause by contributing to the general public’s disdain for advertising. See if you can avoid creating them. If we’re lucky, they’ll be an endangered species by the time you read this.

POSTERS AND POINT-OF-PURCHASE DISPLAYS

Are simply “grabbers” displayed in stores to catch the consumer’s attention and motivate impulse buying. Remember that your display will be competing against dozens of other units in a vast battleground of products.

BILLBOARDS

Are roadside grabbers. Let the visual image sell the product, and keep the verbiage to an absolute minimum. After all, your audience has only a second or two to catch your message, and you don’t want to cause any accidents.

PRESS RELEASES or NEWS RELEASES

Announce your message to the news media, which in turn will (you hope) disseminate it to the public. Whether sent by e-mail or snail mail, a good press release is “newsy” above all else; the editor who reads it is looking for material that will make a lively story. Get attention with a powerful headline and a banner that reads “For immediate release” (or something equally urgent). But remember to maintain a reasonably sober journalistic voice throughout the piece. Wildly enthusiastic press releases without editorial substance are dismissed as “puffery” by seasoned pros. And puffery invariably ends up in the wastebasket. Try to contain your story on a page or two. Don’t feel obligated to spell out every detail; you want the editor to call you, after all. (That’s why you’ve provided all that contact information at the top of the page.)

Grabbers: Making the reader sit up and take notice

Teasers

Note: Please use these statements only if you honestly believe they’re true. Nobody likes to be hoodwinked into opening an envelope or e-mail. For this reason, I’ve omitted deceptive teasers like Your Winning Ticket Is Enclosed! and Please Do Not Discard. (Smart consumers know that the latter phrase screams “JUNK MAIL!”) Even urgent is losing its urgency as readers grow more jaded.

There are plenty of honest ways to hook a reader. For further inspiration, see: Free/Prize, Sale/Discount, All-Purpose Grabbers, and Money-Saving (Part 2).

Free / Prize

For further inspiration, see: Teasers, All-Purpose Grabbers, Money-Saving (Part 2)

SALE/DISCOUNT

For further inspiration, see: Teasers Free/Prize Money-Saving (Part 2)

TRIAL OFFER/NO OBLIGATION

For further inspiration, see: Guarantees (Part 3) Persuading Your Audience (Part 3)

HEADS AND SLOGANS

For other heads and slogans, see individual topics throughout the book.

SALUTATIONS AND INVITATIONS

For further inspiration, see: Flattering the Reader (Part 4)

OPENING WITH A QUESTION

OPENING WITH A STATEMENT

For further inspiration, see: Heads and Slogans

OPENING WITH A CHALLENGE

For further inspiration, see: Self-Improvement (Part 2)

SNAPPY TRANSITIONS

ALL-PURPOSE GRABBERS

Descriptions and Benefits: Conveying the value of your product or service

APPEALING

AUTHENTIC

BELONGING/MEMBERSHIP

For further inspiration, see: Distinguished/Status

BIG/MANY

For further inspiration, see: Choice/Control Complete/Thorough Powerful

CHOICE/CONTROL

For further inspiration, see: Big/Many Convenient Security/Peace of Mind

COMFORTABLE

For further inspiration, see: Appealing Security/Peace of Mind

COMPETITIVE

For further inspiration, see: Results/Performance Superior Enhancing Your Company’s Image (Part 4) Knocking the Competition (Part 4)

COMPLETE/THOROUGH

For further inspiration, see: Big/Many Choice/Control Superior

CONVENIENT

For further inspiration, see: Choice/Control Easy Service/Help Useful/Practical

DISTINGUISHED/STATUS

For further inspiration, see: Belonging/Membership Luxurious Sophisticated/Smart Superior Flattering the Reader (Section 4) Using Demographics to Impress (Part 4)

DURABLE/SOLID

For further inspiration, see: Luxurious Reliable Results/Performance

EASY

For further inspiration, see: Convenient

EXCITING/STIMULATING

For further inspiration, see: Appealing Fabulous Fun/Cheerful Pleasure/Satisfaction Powerful Sexy

EXPERIENCED/EXPERT

For further inspiration, see: Reliable Results/Performance Service/Help Superior Enhancing Your Company’s Image (Part 4) Knocking the Competition (Part 4)

FABULOUS

For further inspiration, see: Exciting/Stimulating Fun/Cheerful Powerful Sensory Qualities Superior

FAST

For further inspiration, see: Convenient Easy Powerful Results/Performance Timely

FRESH/WHOLESOME

For further inspiration, see: Appealing Comfortable Healthful Plain/Natural Sensory Qualities

FUN/CHEERFUL

For further inspiration, see: Exciting/Stimulating Pleasure/Satisfaction

GIFT

For further inspiration, see: Free/Prize (Part 1) Luxurious Suitable

GOOD-LOOKING

For further inspiration, see: Appealing Sexy

HEALTHFUL

For further inspiration, see: Fresh/Wholesome Plain/Natural Self-Improvement

HONEST

For further inspiration, see: Authentic Plain/Natural Reliable Enhancing Your Company’s Image (Part 4)

IMPROVED

For further inspiration, see: New/Advanced

INDISPENSABLE

For further inspiration, see: Reliable Superior Useful/Practical Valuable

INFORMATIVE

For further inspiration, see: Complete/Thorough Exciting/Stimulating Honest Self-Improvement Service/Help

LUXURIOUS

For further inspiration, see: Distinguished/Status Made Stylish Superior Justifying a High Price (Part 4)

MADE

For further inspiration, see: Luxurious New/Advanced Durable/Solid

MONEY-MAKING

For further inspiration, see: Money-Saving Self-Improvement

MONEY-SAVING

For further inspiration, see: Sale/Discount (Part 1) All-Purpose Grabbers (Part 1)

NEW/ADVANCED

For further inspiration, see: Improved Timely

PLAIN/NATURAL

For further inspiration, see: Authentic Comfortable Fresh/Wholesome Honest Reliable Traditional/Classic

PLEASURE/SATISFACTION

For further inspiration, see: Appealing Comfortable Exciting/Stimulating Fun/Cheerful Sensory Qualities Guarantees (Part 3)

For further inspiration, see: Appealing Distinguished/Status Stylish

POWERFUL

For further inspiration, see: Durable/Solid Exciting/Stimulating Results/Performance

RELIABLE

For further inspiration, see: Authentic Durable/Solid Experienced/Expert Honest Results/Performance Security/Peace of Mind

RESULTS/PERFORMANCE

For further inspiration, see: Competitive Durable/Solid Experienced/Expert Reliable Service/Help

ROMANTIC

For further inspiration, see: Appealing Sensory Qualities Sexy Traditional/Classic

SECURITY/PEACE OF MIND

For further inspiration, see: Choice/Control Reliable Results/Performance Guarantees (Part 3)

SELF-IMPROVEMENT

For further inspiration, see: Exciting/Stimulating Healthful Informative Money-Making Heads and Slogans (Part 1)

SENSORY QUALITIES

For further inspiration, see: Appealing Fresh/Wholesome Good-Looking Pleasure/Satisfaction Sexy

Note: Look for more comprehensive lists of sensory images (Color, Fragrance, Sound, Taste, Texture) in More Words That Sell.

SERVICE/HELP

For further inspiration, see: Convenient Experienced/Expert Reliable Results/Performance

SEXY

For further inspiration, see: Appealing Exciting/Stimulating Good-Looking Pleasure/Satisfaction Romantic Sensory Qualities

SMALL/LESS

SOPHISTICATED/SMART

For further inspiration, see: Distinguished/Status Stylish

STYLISH

For further inspiration, see: Good-Looking Luxurious New/Advanced Sexy Sophisticated/Smart

SUITABLE

For further inspiration, see: Convenient Gift Timely Useful/Practical

SUPERIOR

For further inspiration, see: Distinguished/Status Luxurious Part 4 (Pages 103–110)

TIMELY

For further inspiration, see: Convenient Fast Improved New/Advanced Suitable

TRADITIONAL/CLASSIC

For further inspiration, see: Authentic Made

UNUSUAL

USEFUL/PRACTICAL

For further inspiration, see: Convenient Plain/Natural Suitable Valuable

VALUABLE

For further inspiration, see: Indispensable Luxurious Superior

Clinchers: Closing statements that motivate your audience to respond

PERSUADING YOUR AUDIENCE

For further inspiration, see: Minimizing Risk The Moment of Decision Guarantees

MINIMIZING RISK

For further inspiration, see: Guarantees Trial Offer/No Obligation (Part 1)

THE MOMENT OF DECISION

For further inspiration, see: Persuading Your Audience The Call to Action

THE CALL TO ACTION

For further inspiration, see: The Moment of Decision Order Information

THE P.S.

For further inspiration, see: The Call to Action

THE LIFT NOTE

For further inspiration, see: Minimizing Risk

GUARANTEES

For further inspiration, see: Minimizing Risk

ORDER INFORMATION

BUSINESS-TO-BUSINESS ONLY

For further inspiration, see: The Call to Action

FOLLOWING THROUGH

For further inspiration, see: The Call to Action

Special: Strategies building or bashing an image, selling yourself, and more

ENHANCING YOUR COMPANY’S IMAGE

For further inspiration, see: Heads and Slogans (Part 1) Distinguished/Status (Part 2) Experienced/Expert (Part 2) Reliable (Part 2) Results/Performance (Part 2) Service/Help (Part 2) Superior (Part 2)

JUSTIFYING A HIGH PRICE

For further inspiration, see: Luxurious (Part 2) Distinguished/Status (Part 2) Stylish (Part 2) Superior (Part 2)

KNOCKING THE COMPETITION

For further inspiration, see: Enhancing Your Company’s Image Authentic (Part 2) Competitive (Part 2) Reliable (Part 2) Superior (Part 2)

USING DEMOGRAPHICS TO IMPRESS

For further inspiration, see: Distinguished/Status (Part 2) Superior (Part 2)

FLATTERING THE READER

For further inspiration, see: Using Demographics to Impress Selling Yourself: Personal Traits Distinguished/Status (Part 2)

SELLING YOURSELF: PERSONAL TRAITS

SELLING YOURSELF: ACHIEVEMENTS

SELLING YOUR IDEAS

For further inspiration, see: Indispensable (Part 2) New/Advanced (Part 2) Results/Performance (Part 2)