I recently discovered that if you’re an Audible member (as I have been for more than 20 years), you can get a whole bunch of Lorrie Moore audiobooks for free.

Whee! I love Lorrie Moore.

I’m listening to her story collection called Self-Help right now, and I’m thoroughly enjoying and admiring it.

Most of the stories put the reader in the center of the action. (That’s de rigueur for copywriting, but an unconventional approach for fiction.) The author will tell you “How to Be an Other Woman” or give you “The Kid's Guide to Divorce,” colorfully spelling out what actions you might go through, what observations you might make, what emotions you might feel. It’s so intriguing, so effective, and so creative.

Also creative is the way the story “How to Talk to Your Mother (Notes)” moves backward, one year at a time. That sounds like it might feel annoying or confusing, but it works beautifully and really tugged my heart every which way.

Here’s a tidbit from it:

The hum, rush, clack of things in the kitchen. These are some of the sounds that organize your life. The clink of the silverware inside the drawer, piled like bones in a mass grave. Your similes grow grim, grow tired.

I could hear, see, and feel that kitchen drawer. And I appreciated how Moore poked fun of her own description.

There’s humor sprinkled throughout these tales. Here’s a cat cleaning herself in “Amahl and the Night Visitors: A Guide to the Tenor of Love”:

She sees you watching, freezes, blinks at you, then busies herself again, her face in her belly, one leg up at a time, an intent ballerina in a hairy body stocking.

Amidst all this entertaining, evocative writing, the thing that really stopped me in my tracks, that made me want to blog about this author and this book, is a device called a zeugma. (Great to know for Words with Friends or Scrabble. That Z alone is worth 10 points!)

A zeugma, as Merriam-Webster explains, is

the use of a word to modify or govern two or more words usually in such a manner that it applies to each in a different sense or makes sense with only one (as in “opened the door and her heart to the homeless boy”).

So. In the story entitled “How,” Moore writes:
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But I love you, he will say in his soft, bewildered way, stirring the spaghetti sauce but not you, staring into the pan as if waiting for something, a magic fish, to rise from it…

Stirring the spaghetti sauce but not you. I love it.

If you look up “zeugma” on Wikipedia, you will find yourself in a complex hamster Habitrail® of rhetorical devices. But for regular people like me, zeugmas are typically just unexpected, playful, and fun. Wordplay, as they say.

(Side note: The etymology of zeugma has to do with connecting, linking, or yoking. The ancient city of Zeugma is so called because of a local bridge of connected boats that crossed the Euphrates.)
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Here are some literary zeugma examples that I found on this Your Dictionary page:

Yet time and her aunt moved slowly—and her patience and her ideas were nearly worn out before the tête-à-tête was over. – Jane Austen, Pride and Prejudice

He was alternately cudgeling his brains and his donkey. – Charles Dickens, Oliver Twist

They tugged and tore at each other's hair and clothes, punched and scratched each other’s nose, and covered themselves with dust and glory. – Mark Twain, The Adventures of Tom Sawyer
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I’ll tell you this much: Zeugmas are tricky to write. I don’t even want to admit how much time I spent on the title of this blog.

Give it a try. Write a zeugma. See how it goes—and why these things aren’t more common.

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PS: The book link above is an affiliate link. So I can keep rolling in the pennies.

I find the idea of AI-assisted copywriting pretty terrifying. Every time I use Google Docs to write something, a voice in my head says, “They’re recording all of this. Every keystroke. Every hesitation. Every correction. Soon, they (whoever that is) will be able to replicate your voice exactly. You will be rendered obsolete. You will become impoverished. Worthless. Ruined. And you’ll have no one to blame but yourself. You will have handed them the keys to your copy kingdom, all for the sake of convenience.”

I admitted as much to a small networking group last week. But one of the participants assured me that Jarvis.ai, the self-proclaimed “future of writing” was a wonderful tool. Hmmm, I thought. Hmmm.

A few days later, when I shared my AI anxiety with a group of copywriters, my friend Bill assuaged it a bit, reminding me that new tools are frequently scary at first, but then they come to be ordinary.

And so, dear reader, I am dictating this text into Jarvis right now. I had surgery on my hand yesterday, and the aforementioned Jarvis enthusiast has given me a free five–day trial at the highest subscription tier, so I’m using my post-op recovery time to play around with what could well be my replacement. (Jarvis will never require hand surgery. Or hands.)

I’m going to conduct a little experiment. I’ve written everything above this point myself. But now I’m going to give Jarvis the command, “Use the text above to finish this blog.” Let’s see what happens.

Oops. Take two.

OK. That was an unfair test, evidently. Jarvis just repeated what I’d written, word for word.

Now I’ll instead ask it to write three paragraphs answering the question, “Should copywriters feel threatened by Jarvis and other AI?” (Edit—I directed it to go beyond three paragraphs.)

Here’s what Jarvis wrote.

As a copywriter, I'm very curious about how AI can be used to create content. And as a writer, who knows how intimidating the blank page can be, I've been exploring this myself for some months now. But what seems scary to many writers is that AI will take over the profession—or at least large parts of it.

In short: No need to fear! Certainly, copywriters should use every tool at their disposal--whether it's motivational apps or mindmapping techniques or just dousing oneself with coffee and getting started on that white paper--but they shouldn't worry too much about artificial intelligence taking over their livelihoods anytime soon (if ever). 

Copywriting has developed into an artistic discipline like anything else; there are still rules that can be followed, but the best writing is often creative and innovative. And AI isn't intelligent enough to do that yet.

However, all this doesn't mean copywriters shouldn't explore the possibilities of new tools like Jarvis—the future of writing--in their own work. For example, it can help marketers create more targeted content using natural language generation (NLG) to increase their lead generation.

So relax, copywriters. You may be able to stop obsessively checking your email for that message from Google telling you that it's "improved" your writing style and now it won't need you anymore. Relax and enjoy the ride!

Well, well, well. That was a pleasant surprise! Jarvis worked out some complete thoughts, and apparently wasn't intimidated by the idea of writing a blog post on AI's impact on copywriting.

I don't know if it's any good, but I have to admit that it sounds pretty professional—much more so than anything I've been able to produce.

Conclusion (and a question).
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It’s me again. Sara. The one with the hands and the heartbeat.

So Jarvis is telling me to relax and enjoy the ride; and also, that it can write much more professionally than I can. It says that it probably won’t be taking over my livelihood soon. I'm left feeling both uneasy and insulted. This little Jarvis guest post is part gaslighting, part bitch-slap.

What do you think? Should I spend between $29 and $119 a month to keep my enemy close?​

Gravel. Goose down. Sawdust. Hay. These are just a few of the generic commodities you could stuff into a pillowcase, if you were so inclined. Any of it would become the pillowcase’s content.

When someone asks for “content” for a website or social media post, they’re essentially saying, “I don’t care what you put in there, just fill it up.” The gist is, “I need this empty space to stop being empty.”

Whoever came up with the term content sure didn’t appreciate the power of language. They didn’t recognize its ability to grab attention, stoke emotions, change minds, and incite action. The coiner of content wasn’t a writer—and probably not much of a reader. They surely won’t read this particular, erm…“content,” so I could probably take this opportunity to call them a troglodyte or doo-doo head.

But I’d never.
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Now, as a copywriter, I should point out that originally, the term “copy” wasn’t all that great, either. The word hearkens back to the poor hunched, eye-strained scribes who spent their days and candlelit nights meticulously copying documents and books by hand. They had to write a copious amount of text. The root of both copy and copious is the Latin word copia, meaning abundance. It’s the same copia we see in our Thanksgiving-centric cornucopia—“horn of plenty.” (See below.)

But copywriters don’t copy. (The ethical ones don’t, anyway.) We write the words that get reproduced by printing presses or computer monitors. We create original text that’s worthy of wide distribution.

What we don’t write—or certainly shouldn’t—is mere fluff and filler. That would be no better than the common placeholder text “Lorem ipsum dolor sit amet….” (That wording is called “Greek,” but it isn’t Greek. It’s some slightly mangled Latin from a treatise published by Cicero in 45 BC.)

Whether copywriters are writing ads or emails, posters or packaging, blogs or scripts or tweets, our words are meant to have impact. The sentences we so carefully craft are not inert stuffing; they accomplish goals. They tell stories. Gain interest. Build trust. Make sales.

Good writing does not, as the name content implies, merely fill a void.

Almost any name would have been better than content. Fuel, maybe. Magic, or gold. Honestly, I’d settle for the simple term that evokes all of that power and value to me: just words.

But we could have come up with something else. Splendor? Sparkle? Voltage? Vim? How about lexi, which sounds like sexy but is rooted in the Greek lexikos, “pertaining to words”?

No matter what, whoever came up with content should have hired a writer.
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What would you have called “content,” given the chance?

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I've said before that I am not a grammar Nazi. I have no interest in shaming anyone or trying to prove any kind of superiority. I promise.

I do believe, however, that many people—particularly businesspeople—want to write clearly and correctly, and I'm happy to help them achieve that goal.

So a while back, when a customer service rep typed "your welcome" to me, I shared the above screenshot on LinkedIn. I pointed out that it's an extremely common error and explained ​that when you say "you're welcome," you're creating a contraction of "you are welcome." I thought it might help some people better understand and remember the correct spelling.

(I did not​ write, or even imply, "Look how stupid this person is." I simply explained the correct spelling.)

I was surprised when I got this response from a "senior business development manager":

Huh.

I had to think about that just a bit.

While I was thinking, I did a bit of "research" (read: Googling) about this conviction that so long as we can understand each other, we shouldn't be fussing about apostrophes and spelling.

And I discovered that this senior business development manager's opinion was not unique. I found a meme that echoed his sentiment with just a touch more vulgarity:

I won't even comment on that missing apostrophe. I'll just address the question.

First—in my defense, I never correct people directly unless I know they want me to, and then I only do so privately.

But as for the "correctness" thing, I'll explain "why the fuck" it matters.

It matters because we live in a society. With conventions and expectations. And—occasionally—manners. We abide by certain rules to get along harmoniously. To establish credibility. To gain trust and respect. This is why you don't typically show up for a job interview barefoot or pick your nose when you're meeting your new neighbors. It's why you stand in line and wear pants in Starbucks. It's why your doctor doesn't buff his fingernails while he's listing your treatment options.

Also, writing is about connecting and communicating with our readers. We owe them the kindness of making our message as clear as possible. It's like holding a door open for them. It's polite. We're helping them along. We're putting in a good effort to save them trouble. We're showing them respect.

I admit that writing is a series of judgment calls, and I might write more casually on Twitter than I would on behalf of a higher education client. But fundamentally, I always try to think about the people reading my writing, and I try to treat them well.

So that's "the issue," and that's my position, for anyone who's wondering.

You're welcome.

Congratulate me. Seriously. I deserve it.

This week, I finally gave a client a logo I started working on—yes—one year ago.

Want to know why? Because I am not a professional designer.

Why, you may ask, would I create a logo for a client if I am not a designer?

Excellent question.

The answer can be found somewhere in the neighborhood of “enthusiasm” and “curiosity.” Cross street: “naïveté.”

When I began freelancing (as a copywriter, not a designer) in 2016, I quickly decided that I wanted to learn how to use Adobe Illustrator (and maybe a few other applications in Adobe Suite). I started watching instructional videos and practicing and slowly, slowly acquiring knowledge.

But I realized I needed a professional to occasionally lean over my shoulder and give me some guidance. So when a “branding design” class opened up nearby—taught by a creative director I really admire—I paid for it within approximately two minutes and eagerly awaited the first class.

I was going to get to work on logos! Color palettes! Typography! With professional guidance!

The class convened. And it wasn’t quite what I was expecting. We focused a lot on positioning and strategic branding. We worked on articulating brands with words much more than with design. 

But at a certain point, I was given the assignment to develop a brand, complete with logo.

Rather than work for an imaginary client, I thought I’d try to help out a nonprofit. I found one right in my town, met with the managing director, and got going. After some preliminary work, it came time to create … the logo.

The creative director/teacher of my branding class gave me very friendly feedback on the designs I shared, but I could tell he was being way too forgiving. I knew I wasn’t finished with the logo by the time the class concluded.

I kept working. I got help from several designer friends. And eventually, with MUCH assistance, I came up with half a dozen logos. The client chose one, and just this week, I finished creating all the requisite formats, zipped the file, and sent it off. Ta-da!

Now, let me say that part of this year-long logo turnaround has to do with the nonprofit I worked with—how infrequently their board meets, and a definite lack of urgency on their end. But a big part of it has to do with how freaking difficult it is for a non-designer to create a logo.

Yes, I’ve worked closely with professional designers for 30 years. I’ve attended countless design conferences and events. I’m a member of AIGA. I know *something* about design. But I did not earn a degree in design. And this became painfully obvious. Because designing a logo is challenging in about a dozen different ways. And every challenge was amplified by my ignorance.

I learned a lot from this adventure, to be sure. But I won’t enumerate all the lessons I absorbed about typography alignment and CMYK values and Pantone workarounds and EPS files. Instead, I want to tell you my most important takeaways from my Very Challenging Logo Project.

My Three Commandments for Hiring Designers

I’ve felt all of these things throughout my career. But never so strongly as I do now. 

1) Give designers plenty of time.

​Most non-designers have a drastically skewed view of how long it takes to do anything design-wise. The advent of Photoshop contributed to this misperception. Non-designers think everything should take just a few keystrokes to accomplish. Never assume any such thing. Every aspect of design—researching, concepting, creating, tweaking, reviewing, etc.—takes time. Practice saying this with me now so you can say it to your designer later: “How much time do you need?”

2) Give designers plenty of money.

If you are a non-designer, I promise you this: Your designer knows more than you do about design. Designers have worked hard to become educated and savvy professionals. They are artists. They are technicians. They are problem-solvers and problem-preventers. They know how to help you. They are worth every penny. Pay them. Pay them well. Pay them on time.

3) Give designers plenty of respect.

I’ve been in the advertising/marketing business long enough to know that this needs saying. Repeating. Yelling. It’s closely tied with items #1 and #2 above. Don’t impose ridiculous deadlines. Don’t ignore invoices. Don’t wait until the last minute to answer questions. Don’t request changes because your wife doesn’t care for the color green. In fact, if you’re going to request any changes, preface them with this: “Let me know if you think this will compromise what you’re trying to accomplish with your design. If so, let me know. Please tell me what you think.”

Now. Does anyone need a logo? Because I know quite a few designers I’d be happy to recommend.

When I was a kid, I had the opposite of claustrophobia. I'd call it claustrophilia, but I don't want to pathologize it. I just enjoyed tucking myself into little hideouts and cozy spots: cabinets, closets, an oversized drawer... even the top of the refrigerator, for a spell. (Maybe I don't want to scrutinize this behavior too much.)

Anyway, this proclivity has carried over to my professional life today. I've discovered that my favorite copywriting challenges are those where space is limited. A billboard that people need to take in while driving 70 miles an hour. A thirty-second radio spot. A digital ad that's half the size of a credit card. The back of a frozen entree. Subject lines. Headlines. Taglines. Tweets.

Related: For the past few years, I've been creating little language lessons about grammar, spelling, punctuation, etymology, etc. (See a sampling below.) Each of these social media posts measures only 1080 x 1080 pixels. That's not a lot of room to explain when you should use "loath" instead of "loathe," or how to avoid committing a comma splice. But that restriction is a big part of why I love creating these things. They're like Rubik's cubes. The challenge: How much memorable information can I fit into the square without it feeling like a Dr. Bronner's label?

Now, If you're one of the millions of people who freelance, you've likely heard the mantra that to succeed, you need to "niche down." (Don't ask me to say that out loud—whichever way you pronounce it, you're sure to annoy somebody.) The more specific your expertise, say all the career coaches, the better. You're supposed to specialize in some industry "vertical": dentistry, landscaping, badminton... something.

But I don't want to. I love promoting all sorts of products and services: beer and banks and boarding schools. If I particularly love the work a client does (like Invest in Girls, say), then that's just icing on the cake. (Oh—I've gotten to write lots about cake. And icing.)

So I think that rather than niching down in the usual sense, I'd like to focus on small spaces. I'll take a pass on the long white papers and ebooks. Bring on the ads. The emails. The out-of-home. I want to work on posters and postcards and packaging. Give me a small space, and I will do big things.℠ 

I am a copywriter, not a designer. But back in 2016 when I started freelancing full-time, I decided that I wanted to learn how to use Adobe Illustrator. I couldn't exactly justify it, but the urge was strong enough that I started paying a hefty chunk of change for an Adobe Suite subscription.

Copywriting always comes first, but whenever I can, I take Skillshare classes* and practice using Adobe Illustrator. One of the first classes I took was taught by Aaron Draplin. He was blazingly fast, but I did my best to follow along. Everything he did was captivating and inspirational.

When I learned that he was going to be giving a workshop in Denver this week, I thought, "What the heck—why not?" I whipped out my credit card and got my spot in a class that sold out in just a few days. It was well worth the price to get in-person teaching time from the guy who's created designs for the likes of Target, Nike, Bernie Sanders, and the US Postal Service.

My dream was that he could give me some one-on-one guidance on a logo I volunteered to create for a local nonprofit. Working on this thing has proven to me that everyone should pay good designers all the money. If you've ever gotten the impression that graphic design is easy or quick, you are woefully mistaken. It is seriously challenging, and it takes time. Lots and lots of time.

Well, at yesterday's workshop, I quickly realized that there could be no personalized guidance from Mr. Draplin. There were way too many people and not enough time. But I learned a lot, and I feel more at ease about finishing up my logo. (Fortunately, I know several talented designers who are willing to help me along.)

The good news is that I've been busy lately.

The bad news is that I haven't had time to do all the stuff I love to do, including writing for me. I've started a LinkedIn article called "Don't Write Like a Psychopath" that I can't wait to finish. I've been invited to write a blog for the fine folks at CreativePro.com but haven't had a chance to do it just yet. And I want to put together the Ignite talk I'm giving at CreativePro Week in June, but that's not happening just yet.

But dangit, I'm going to write a blog right now, and everything else can wait. I'm going to make this quick—and hopefully compelling and/or informative.

• I attended Crop last week in Baton Rouge, and it was FABulous. I'm so glad I went. In addition to learning from and meeting some amazing designers, I got to spend several hours in New Orleans eating a great meal at Atchafalaya and walking up and down Magazine Street.
• I've been binge-listening to My Favorite Murder, the wildly popular true-crime comedy podcast. I'm not sure I'm ready to call myself a murderino, but I may be getting there.
• I've gotten involved with a great freelancing group in Denver. We're going to host Freelance Business Week in Denver September 30–October 4, 2019, should anyone want to speak, attend, or volunteer.
• I got help from Drew Hornbein and I now have sign-up pages for two emails I send out. One is a listing of events in the Denver-Boulder area that freelancers, graphic designers, and other creative types might appreciate; the other is an email that includes the little grammar/spelling lessons I've been sharing on social media. Feel free to sign up!
• I attended the Ad Club Freelancer Fling this week, and it was a great opportunity to share my wonderful new business cards, designed by my friend Michael Reardon. Each card has a different fun word and definition on the back, including "sesquipedalian," "collywobbles," and "hornswoggle."
• I've been volunteering a lot lately, not only for the aforementioned freelancers group but for the wonderful Sister Carmen Food Bank, AIGA Colorado, and The One Club for Creativity Denver. 
• This weekend, I'm getting together with 11 of my friends from college--an event I look forward to every year.

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Those are the highlights. Consider this weblog updated!

As a freelance copywriter, I hear this career advice over and over: "You have to have a niche." To which a voice inside my head whines, "But I don't waaaaaaant to have a niche." (I can't even decide whether I want to pronounce that word "nitch" or "neesh." Please don't make me commit my entire career to one skinny vertical.)

Here's the thing. When it comes to effective advertising and marketing, it's really all the same: You are communicating with human beings. First, you identify what your target customer cares about: What do they yearn for? What are they anxious about? What hurdles do they face? You figure out how [insert product or service here] will improve this target customer's life. How will it eliminate their headaches? How will it save them time, money, or effort? And how will they know that it's the best solution, both before and after their purchase? And how can you get your message across to them in a way that resonates?

I've advertised mutual funds and wedding cakes. I've marketed private schools to discriminating families and washing machines to laundromat owners. B2B, B2C, healthcare, software, décor, travel—you name it, I've probably done it. And if I haven't, I feel certain that I could.

But recently, I do keep asking myself: What do I enjoy working on? And who do I enjoy working with? And here, I'm beginning to sense some discrimination.

With such musing, I experience a certain kind of delight: the same one I relish whenever I have my eyes examined at the optometrist's office. "Which is better," the doctor asks me as I peer through various lenses at the letters on the eye chart. "This? Or this?" "Is it better now? Or now?"

I absolutely LOVE that part of eye exams. I love considering the two competing options, occasionally asking to see them again, and then announcing my answer with confidence. And I love knowing that with every honest, accurate declaration, I am getting one step closer to a vision prescription that is going to improve my life.

Similarly, I may be narrowing my freelancing focus just a teeny bit. My interests remain broad, admittedly, but I'm beginning to ask myself the question "Which is better?" more frequently. And giving more consideration to every answer. I can't wait to see what kind of career prescription I end up with.

I've been attending a nifty little series hosted by AIGA Colorado for freelancers and entrepreneurs. Last night, the topic was "Workspace Matters," and the panel of speakers discussed coworking spaces, work habits, and the like.

At the conclusion, the moderator asked us to assess our own working spaces. And so I will.

Many days, I commute a whopping two miles to a fabulous coworking space called Confluence. I take advantage of their "hotdesk" membership, which lets me grab any open spot in a lovely central room. Confluence has free parking (though I may start biking or walking), a great kitchen and dining area, and complimentary coffee, soft drinks, and yes, beer. They host social/networking events where all of the members can get to know one another and learn what each of us does for work. We're going to start doing some volunteer work together, too. Possibly my favorite part about Confluence is the book club they hold every three weeks. To me, nothing beats a good book club, particularly one taking place about 20 paces from where I work. So my assessment of my coworking office is A-double-plus.

Now, some days (like today), I work from home. I love my home office, too. I can nap and fold laundry as needed, and I can work whenever I like—including before sunrise.

The central feature of my home office is my coworker, who shares an office chair with me. Little Guy is a chiweenie (chihuahua + dachshund) who loves to snooze on an old sleeping bag directly behind my back. My husband is chagrined by the ergonomic implications of the way I sit and implores me to invest in an Aeron chair. But if I were to do that, I think I'd have to keep Little Guy and his claws off of it, and I don't think I could bear it. I mean, really: could you?

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