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Ode: How to tell a great story Chris Fralic reminded me of this piece I wrote for Ode.

Great stories succeed because they are able to capture the imagination of large or important audiences.

A great story is true. Not necessarily because it’s factual, but because it’s consistent and authentic. Consumers are too good at sniffing out inconsistencies for a marketer to get away with a story that’s just slapped on.

Great stories make a promise. They promise fun, safety or a shortcut. The promise needs to be bold and audacious. It’s either exceptional or it’s not worth listening to.

Great stories are trusted. Trust is the scarcest resource we’ve got left. No one trusts anyone. People don’t trust the beautiful women ordering vodka at the corner bar (they’re getting paid by the liquor company). People don’t trust the spokespeople on commercials (who exactly is Rula Lenska?). And they certainly don’t trust the companies that make pharmaceuticals (Vioxx, apparently, can kill you). As a result, no marketer succeeds in telling a story unless he has earned the credibility to tell that story.

Great stories are subtle. Surprisingly, the fewer details a marketer spells out, the more powerful the story becomes. Talented marketers understand that allowing people to draw their own conclusions is far more effective than announcing the punch line.

Great stories happen fast. First impressions are far more powerful than we give them credit for.

Great stories don’t always need eight-page color brochures or a face-to-face meeting. Either you are ready to listen or you aren’t.

Great stories don’t appeal to logic, but they often appeal to our senses. Pheromones aren’t a myth. People decide if they like someone after just a sniff.

Great stories are rarely aimed at everyone. Average people are good at ignoring you. Average people have too many different points of view about life and average people are by and large satisfied. If you need to water down your story to appeal to everyone, it will appeal to no one. The most effective stories match the world view of a tiny audience—and then that tiny audience spreads the story.

Great stories don’t contradict themselves. If your restaurant is in the right location but had the wrong menu, you lose. If your art gallery carries the right artists but your staff is made up of rejects from a used car lot, you lose. Consumers are clever and they’ll see through your deceit at once.

Most of all, great stories agree with our world view. The best stories don’t teach people anything new. Instead, the best stories agree with what the audience already believes and makes the members of the audience feel smart and secure when reminded how right they were in the first place.

Advice for authors It happened again. There I was, meeting with someone who I thought had nothing to do with books or publishing, and it turns out his new book just came out.

With more than 75,000 books published every year (not counting ebooks or blogs), the odds are actually pretty good that you’ve either written a book, are writing a book or want to write one.

Hence this short list:

Lower your expectations. The happiest authors are the ones that don’t expect much. The best time to start promoting your book is three years before it comes out. Three years to build a reputation, build a permission asset, build a blog, build a following, build credibility and build the connections you’ll need later. Pay for an eidtor editor. Not just to fix the typos, but to actually make your ramblings into something that people will choose to read. I found someone I like working with at the EFA. One of the things traditional publishers used to do is provide really insightful, even brilliant editors (people like Fred Hills and Megan Casey), but alas, that doesn’t happen very often. And hiring your own editor means you’ll value the process more. Understand that a non-fiction book is a souvenir, just a vessel for the ideas themselves. You don’t want the ideas to get stuck in the book… you want them to spread. Which means that you shouldn’t hoard the idea! The more you give away, the better you will do. Don’t try to sell your book to everyone. First, consider this: ” 58% of the US adult population never reads another book after high school.” Then, consider the fact that among people even willing to buy a book, yours is just a tiny little needle in a very big haystack. Far better to obsess about a little subset of the market–that subset that you have permission to talk with, that subset where you have credibility, and most important, that subset where people just can’t live without your book. Resist with all your might the temptation to hire a publicist to get you on Oprah. First, you won’t get on Oprah (if you do, drop me a note and I’ll mention you as the exception). Second, it’s expensive. You’re way better off spending the time and money to do #5 instead, going after the little micromarkets. There are some very talented publicists out there (thanks, Allison), but in general, see #1. Think really hard before you spend a year trying to please one person in New York to get your book published by a ‘real’ publisher. You give up a lot of time. You give up a lot of the upside. You give up control over what your book reads like and feels like and how it’s promoted. Of course, a contract from Knopf and a seat on Jon Stewart’s couch are great things, but so is being the Queen of England. That doesn’t mean it’s going to happen to you. Far more likely is that you discover how to efficiently publish (either electronically or using POD or a small run press) a brilliant book that spreads like wildfire among a select group of people. Your cover matters. Way more than you think. If it didn’t, you wouldn’t need a book… you could just email people the text. If you have a ‘real’ publisher (#7), it’s worth investing in a few things to help them do a better job for you. Like pre-editing the book before you submit it. Like putting the right to work on the cover with them in the contract. And most of all, getting the ability to buy hundreds of books at cost that you can use as samples and promotional pieces. In case you skipped it, please check #2 again. That’s the most important one, by far. Blurbs are overrated, imho. Blog mentions, on the other hand, matter a lot. If you’ve got the patience, bookstore signings and talking to book clubs by phone are the two lowest-paid but most guaranteed to work methods you have for promoting a really really good book. If you do it 200 times a year, it will pay. Consider the free PDF alternative. Some have gotten millions of downloads. No hassles, no time wasted, no trying to make a living on it. All the joy, in other words, without debating whether you should quit your day job (you shouldn’t!) If you want to reach people who don’t normally buy books, show up in places where people who don’t usually buy books are. Media places, virtual places and real places too. Most books that sell by the truckload sell by the caseload. In other words, sell to organizations that buy on behalf of their members/employees. Publishing a book is not the same as printing a book. Publishing is about marketing and sales and distribution and risk. If you don’t want to be in that business, don’t! Printing a book is trivially easy. Don’t let anyone tell you it’s not. You’ll find plenty of printers who can match the look and feel of the bestselling book of your choice for just a few dollars a copy. That’s not the hard part. Bookstores, in general, are run by absolutely terrific people. Bookstores, in general, are really lousy businesses. They are often where books go to die. While some readers will discover your book in a store, it’s way more likely they will discover the book before they get to the store, and the store is just there hoping to have the right book for the right person at the time she wants it. If the match isn’t made, no sale. Writing a book is a tremendous experience. It pays off intellectually. It clarifies your thinking. It builds credibility. It is a living engine of marketing and idea spreading, working every day to deliver your message with authority. You should write one. Here’s the prequel to this post…

Advice for authors Always beware free advice. It is worth what it costs!

That said, I get a fair number of notes from well respected, intelligent people who are embarking on their first non-fiction book project. They tend to ask very similar questions, so I thought I'd go ahead and put down my five big ideas in one place to make it easier for everyone.

I guarantee you that you won't agree with all of them, but, as they say, your mileage my vary.

1. Please understand that book publishing is an organized hobby, not a business. The return on equity and return on time for authors and for publishers is horrendous. If you're doing it for the money, you're going to be disappointed.

On the other hand, a book gives you leverage to spread an idea and a brand far and wide. There's a worldview that's quite common that says that people who write books know what they are talking about and that a book confers some sort of authority.

2. The timeframe for the launch of books has gone from silly to unrealistic. When the world moved more slowly, waiting more than a year for a book to come out was not great, but tolerable. Today, even though all other media has accelerated rapidly, books still take a year or more. You need to consider what the shelf life of your idea is.

3. There is no such thing as effective book promotion by a book publisher. This isn't true, of course. Harry Potter gets promoted. So did Freakonomics. But out of the 75,000 titles published last year in the US alone, I figure 100 were effectively promoted by the publishers. This leaves a pretty big gap.

This gap is either unfilled, in which case the book fails, or it is filled by the author. Here's the thing: publishing a book is really nothing but a socially acceptable opportunity to promote yourself and your ideas far and wide and often.

If you don't promote it, no one will. If you don't have a better strategy than, "Let's get on Oprah" you should stop now. If you don't have an asset already--a permission base of thousands or tens of thousands of people, a popular blog, thousands of employees, a personal relationship with Willard Scott... then it's too late to start building that asset once you start working on a book.

By the way, blurbs don't sell books. Not really. You can get all the blurbs in the world for your book and it won't help if you haven't done everything else (quick aside: the guy who invented the word "blurb" also wrote the poem Purple Cow).

4. Books cost money and require the user to read them for the idea to spread. Obvious, sure, but real problems. Real problems because the cost of a book introduces friction to your idea. It makes the idea spread much much more slowly than an online meme because in order for it to spread, someone has to buy it. Add to that the growing (and sad) fact that people hate to read. Too often, people have told me, with pride, that they read three chapters of my book. Just three.

5. Publishing is like venture capital, not like printing. Printing your own book is very very easy and not particularly expensive. You can hire professional copyeditors and designers and end up with a book that looks just like one from Random House. That's easy stuff.

What Random House and others do is invest. They invest cash in an advance. They invest time in creating the book itself and selling it in and they invest more cash in printing books. Like all VCs, they want a big return.

If you need the advance to live on, then publishers serve an essential function. If, on the other hand, you're like most non-fiction authors and spreading the idea is worth more than the advance, you may not.

So, what's my best advice?

Build an asset. Large numbers of influential people who read your blog or read your emails or watch your TV show or love your restaurant or or or...

Then, put your idea into a format where it will spread fast. That could be an ebook (a free one) or a pamphlet (a cheap one--the Joy of Jello sold millions and millions of copies at a dollar or less).

Then, if your idea catches on, you can sell the souvenir edition. The book. The thing people keep on their shelf or lend out or get from the library. Books are wonderful (I own too many!) but they're not necessarily the best vessel for spreading your idea.

And the punchline, of course, is that if you do all these things, you won't need a publisher. And that's exactly when a publisher will want you! That's the sort of author publishers do the best with.

How to be remarkable From this week’s Guardian:

1. Understand the urgency of the situation. Half-measures simply won’t do. The only way to grow is to abandon your strategy of doing what you did yesterday, but better. Commit.

Remarkable doesn’t mean remarkable to you. It means remarkable to me. Am I going to make a remark about it? If not, then you’re average, and average is for losers.

3. Being noticed is not the same as being remarkable. Running down the street naked will get you noticed, but it won’t accomplish much. It’s easy to pull off a stunt, but not useful.

4. Extremism in the pursuit of remarkability is no sin. In fact, it’s practically a requirement. People in first place, those considered the best in the world, these are the folks that get what they want. Rock stars have groupies because they’re stars, not because they’re good looking.

Remarkability lies in the edges. The biggest, fastest, slowest, richest, easiest, most difficult. It doesn’t always matter which edge, more that you’re at (or beyond) the edge.

6. Not everyone appreciates your efforts to be remarkable. In fact, most people don’t. So what? Most people are ostriches, heads in the sand, unable to help you anyway. Your goal isn’t to please everyone. Your goal is to please those that actually speak up, spread the word, buy new things or hire the talented.

7. If it’s in a manual, if it’s the accepted wisdom, if you can find it in a Dummies book, then guess what? It’s boring, not remarkable. Part of what it takes to do something remarkable is to do something first and best. Roger Bannister was remarkable. The next guy, the guy who broke Bannister’s record wasn’t. He was just faster … but it doesn’t matter.

8. It’s not really as frightening as it seems. They keep the masses in line by threatening them (us) with all manner of horrible outcomes if we dare to step out of line. But who loses their jobs at the mass layoffs? Who has trouble finding a new gig? Not the remarkable minority, that’s for sure.

9. If you put it on a T-shirt, would people wear it? No use being remarkable at something that people don’t care about. Not ALL people, mind you, just a few. A few people insanely focused on what you do is far far better than thousands of people who might be mildly interested, right?

10. What’s fashionable soon becomes unfashionable. While you might be remarkable for a time, if you don’t reinvest and reinvent, you won’t be for long. Instead of resting on your laurels, you must commit to being remarkable again quite soon.

https://www.theguardian.com/money/2007/jan/06/careers.work5#article_continue https://seths.blog/2007/01/how_to_be_remar/

Don’t Shave That Yak! The single best term I’ve learned this year.

Apparently turned into a computer term by the MIT media lab five years ago, yak shaving was recently referenced by my pal Joi Ito. (Link: Joi Ito’s Web: Yak Shaving)

I want to give you the non-technical definition, and as is my wont, broaden it a bit.

Yak Shaving is the last step of a series of steps that occurs when you find something you need to do. “I want to wax the car today.”

“Oops, the hose is still broken from the winter. I’ll need to buy a new one at Home Depot.”

“But Home Depot is on the other side of the Tappan Zee bridge and getting there without my EZPass is miserable because of the tolls.”

“But, wait! I could borrow my neighbor’s EZPass…”

“Bob won’t lend me his EZPass until I return the mooshi pillow my son borrowed, though.”

“And we haven’t returned it because some of the stuffing fell out and we need to get some yak hair to restuff it.”

And the next thing you know, you’re at the zoo, shaving a yak, all so you can wax your car.

This yak shaving phenomenon tends to hit some people more than others, but what makes it particularly perverse is when groups of people get involved. It’s bad enough when one person gets all up in arms yak shaving, but when you try to get a group of people together, you’re just as likely to end up giving the yak a manicure.

Which is why solo entrepreneurs and small organizations are so much more likely to get stuff done. They have fewer yaks to shave.

So, what to do?

Don’t go to Home Depot for the hose.

The minute you start walking down a path toward a yak shaving party, it’s worth making a compromise. Doing it well now is much better than doing it perfectly later.

Before you hit send on that next email, perhaps you should run down this list, just to be sure:

Is it going to just one person? (If yes, jump to #10) Since it’s going to a group, have I thought about who is on my list? Are they blind copied? Did every person on the list really and truly opt in? Not like sort of, but really ask for it? So that means that if I didn’t send it to them, they’d complain about not getting it? See #5. If they wouldn’t complain, take them off! That means, for example, that sending bulk email to a list of bloggers just cause they have blogs is not okay. Aside: the definition of permission marketing: Anticipated, personal and relevant messages delivered to people who actually want to get them. Nowhere does it say anything about you and your needs as a sender. Probably none of my business, but I’m just letting you know how I feel. (And how your prospects feel). Is the email from a real person? If it is, will hitting reply get a note back to that person? (if not, change it please). Have I corresponded with this person before? Really? They’ve written back? (if no, reconsider email). If it is a cold-call email, and I’m sure it’s welcome, and I’m sure it’s not spam, then don’t apologize. If I need to apologize, then yes, it’s spam, and I’ll get the brand-hurt I deserve. Am I angry? (If so, save as draft and come back to the note in one hour). Could I do this note better with a phone call? Am I blind-ccing my boss? If so, what will happen if the recipient finds out? Is there anything in this email I don’t want the attorney general, the media or my boss seeing? (If so, hit delete). Is any portion of the email in all caps? (If so, consider changing it.) Is it in black type at a normal size? Do I have my contact info at the bottom? (If not, consider adding it). Have I included the line, “Please save the planet. Don’t print this email”? (If so, please delete the line and consider a job as a forest ranger or flight attendant). Could this email be shorter? Is there anyone copied on this email who could be left off the list? Have I attached any files that are very big? (If so, google something like ‘send big files’ and consider your options.) Have I attached any files that would work better in PDF format? Are there any 🙂 or other emoticons involved? (If so, reconsider). Am I forwarding someone else’s mail? (If so, will they be happy when they find out?) Am I forwarding something about religion (mine or someone else’s)? (If so, delete). Am I forwarding something about a virus or worldwide charity effort or other potential hoax? (If so, visit snopes and check to see if it’s ‘actually true). Did I hit ‘reply all’? If so, am I glad I did? Does every person on the list need to see it? Am I quoting back the original text in a helpful way? (Sending an email that says, in its entirety, “yes,” is not helpful). If this email is to someone like Seth, did I check to make sure I know the difference between its and it’s? Just wondering. If this is a press release, am I really sure that the recipient is going to be delighted to get it? Or am I taking advantage of the asymmetrical nature of email–free to send, expensive investment of time to read or delete? Are there any little animated creatures in the footer of this email? Adorable kittens? Endangered species of any kind? Bonus: Is there a long legal disclaimer at the bottom of my email? Why? Bonus: Does the subject line make it easy to understand what’s to come and likely it will get filed properly? If I had to pay 42 cents to send this email, would I?