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.
​
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.
​
What would you have called “content,” given the chance?

​

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.

​
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?

​

I was just visiting a website and a pop-up window gave me two choices. I could either click on a big orange button that read, "Yes, I Want Access!" or I could instead click on grey, unembellished text beneath it that said, "No, thanks, I don't want the FREE online course. I'll let my competition watch instead."

I just couldn't bring myself to click on the "No thanks" text. I searched for the discreet little X to close the pop-up. Thank God for that nonjudgmental little X, because anyone who chooses the "No thanks" text is clearly a rube. A boob. A chump.

Now, I'm sure that such pop-up windows are effective—I see them all the time these days. But they're just so... heavy-handed. They're like a salesman who leaps directly in your path, thrusting himself into your personal space, demanding "just a minute of your time."

"Hi, there, friend," he begins, uninvited. "I have just a quick question for you. Do you want to be happy, healthy, and sexually fulfilled? Would you like to eat all the fried foods and desserts you crave but never gain an ounce? Would you like to double your income, your physical endurance, and your lifespan? Would you like to eliminate fatigue, wrinkles, and anxiety? Would you like to regain your youth, double your salary, and bring back your favorite pets from the dead?"

"Or would you instead like to ruin absolutely everything? Would you prefer to live in incessant pain and regret, weeping yourself to sleep at night only to be plagued by a stream of harrowing nightmares? Would you like to be kidnapped and tortured by bandits, infested by intestinal parasites, and covered with an itchy, unsightly rash?"

"The choice is yours, friend. You can enjoy boundless pleasure and fulfillment, or settle for crushing disappointment and despair. So: What'll it be?"

I'll opt for the little X, please.

 "Aoccdrnig to a rscheearch at Cmabrigde Uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteer be at the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe."

I grabbed the previous statement from this article, but you can find countless similar passages online. Most of them have a congratulatory angle about how "You msut be a gneuis if yuor'e albe to udnretsnad tihs srcamelbd txet."

But you're not a genius. You're doomed.

Because when your brain automatically makes incorrect words seem correct, then how the heck are you supposed to identify misspellings? And don't say "autocorrect." Autocorrect is a conniving backstabber. If you write, "Libraries serve the pubic good," for example, autocorrect will just whistle nonchalantly and look the other way.

I am a professional copywriter, and a perfectionist by nature. And yet, I overlook spelling errors quite often. Too often. And I hvae olny my gneuis brian to blmae.