When I was a kid, we used to go trout fishing up in mountain rivers. I used to put artificial and fleeting faith in the type of bait I was using. I would vary my bait rapidly in search of the magic fishy elixir. This fake cheese stuff, some scented “marshmallows”, salmon eggs, and even the fancy plastic worms that I think I liked more than the fish did.
Fish bait catches fish, so click bait catches clicks. Not groundbreaking, but why is there so much of it? Do we honestly not believe that there are ways to repurpose bread ties and toilet paper tubes? I feel like that’s something we’ve been doing since arts and crafts time in elementary school.
We know click bait isn’t designed for the reader. It does not care if you save money on your insurance, organize your life, or identify that celebrities are people too. In fact, it generates more traffic by the reader never learning. It becomes Pavlov’s Buzzfeed, where the reader salivates at the sound of a bell and not the presence of food.
People are craving authentic connections. With their loved ones, with their companies, with their world. See here, here, here and here. And yet clickbait pushes a different narrative.
These 12 calls-to-action will make you jump! Number 7 will make you ask “How high?”
Let’s stop. We don’t have to stop with the listicles, the lifehacks, or even the quizzes to find out which pizza topping gives you life. But let’s start turning those into something. Something that gives you a great starting place but encourages you to add to the list. Something that teaches you how to solve problems in unconventional ways. Something that helps you understand yourself and how you think. Let’s use our powers for awesome.
Let’s start making engage bait, or learn bait. Even better… change bait. Let’s start making things that draw readers into a worthwhile experience that leaves them better off. As Scott Stratten says in his book Unmarketing:
“What is stopping you from calling yourself one of the experts in your field? Being an expert is not an official designation. You don’t get a certificate in the mail, nor do you get a cookie.”
We’re all experts in something. If you have experience, a special skill, or training in something, you can be an expert in that thing. Maybe not THE expert, but definitely AN expert. So be an expert and train someone. Channel your inner Splinter. The mutagen turned the teenage turtles into mutants, Splinter made them ninjas.
We already know how to make people click, now let’s lead them to something better.
For more than 150 years, the National Weather Service has been providing weather updates IN ALL CAPS. Even as weather forecast technology made great leaps and bounds, the National Weather Service was content in sticking with all caps. It’s due to the old limitations of how they communicated their reports. However on May 11th, the National Weather Service will be speaking more softly.
The change is accredited to “changing social norms” around how we talk to each other. Tweets of all caps are taken people talking with VERY LOUD VOICES for a wide range of emotions. I wonder if there isn’t a missed opportunity here.
Two fantastic examples of owning a unique text style are ee cummings, an American poet, and FAKE GRIMLOCK, a giant, robotic dinosaur. ee cummings was famous for using non-traditional capitalization and punctuation as its own poetic device.
“To be nobody-but-yourself – in a world which is doing its best, night and day, to make you somebody else – means to fight the hardest battle which any human being can fight; and never stop fighting.” ee cummings
FAKE GRIMLOCK proudly makes large exclamations of awesomeness and getting stuff done. He does so with a very direct vocabulary and all caps.
“WHY TALK THIS WAY? BECAUSE AWESOME!” – FAKE GRIMLOCK
This is why I feel the National Weather Service is missing out on something. What if they incorporated ALL CAPS into their brand, instead of abandoning it to fit in with the crowd? They should make no apologies for their loud text. T-shirts would be emblazoned with #PARTYCLOUDY, expressing the irony of a wishy-washy weather system that bombastically declares itself. They could even say “YES. WE BROADCAST IN ALL CAPS. WEATHER IS SERIOUS BUSINESS. WE SHOULD ALL PAY ATTENTION TO THE CLIMATE.” But instead, they chose to fit in; get lost in the sea of status updates.
There is a Scottish proverb that says “You should be the king of your word” and it fits in this case as well. Take pride in the words you choose. They are a reflection of you. Don’t let your words blur the lines between you and the millions of others out there. Supercharge your words to stand out against the grain because that’s when you’ll have a #100%CHANCEOFTHUNDERSTORMS!
I’ve had this really amazing opportunity to freelance and do some game writing for indie studio, Mastermind Games. Affliction is set in small town America, circa 1950. You can smell the pies cooling on the windowsills, hear the brass band playing in town square, and everyone greets you with a smile. Until all that ended. You’ll experience the town as an abandoned wasteland, uncovering the tattered history, while keeping a safe distance from the shadowy Reapers. You can either cure the town or fall victim to the many dangers that lurk inside its borders.
Writing for the game has been an absolute blast and the more I write for this game, the more I’ve realized that game writing is like running a Startup. So I leaned into that slide and started to look at startups for ways to help my writing. Let me share with you four ideas I borrow from startups and how to apply them to your writing.
Bring Loads of Ideas
Picture a suitcase. A really large suitcase. In this suitcase you can fit every shirt you’ve ever owned. But wait! Before you start cramming your sixth grade Camp Okeechobee t-shirt into the suitcase, you’re going to fill it with ideas. And like a suitcase full of every shirt you’ve ever owned, only a few will get worn. Your “idea case” should be bursting at the seems because when you begin writing, you’ll never know when you’ll need to break out a new idea.
You can practice this skill by picking something you did today, and try to think of ten different ways you could have done it. Did you text a friend today? What are ten other ways you could have communicated? Once a list of ten is easy, try to get twenty, then thirty. The benefit to this method is that the first ten ideas you have are probably the same ten ideas everyone has. By pushing your limits, you will stretch and start finding more ideas, which leads to the more creative ideas.
Prototype Early and Often
You’ll envision the narrative in a perfect state, but until you get it on paper and in front of someone else, you’ll only stunt its potential. We’ve prototyped the narrative for this project a number of times. Each time we’ve been able to look at different aspects and really get a feel for what works and what doesn’t. Each prototype allowed us to get ideas out there, kind of play test them a little mentally, and identify which pieces worked.
If we hadn’t prototyped the narrative, I would be off happily writing myself into corners that the game wouldn’t able to fix. Worse yet, my literary lost causes, my poetic pinch points, my description the doglegs into a dead-end… they could all cost the developer money and time. No one wants to delay a game because their story got stuck and they need to circle back to when it made sense. The benefit has been keeping the narrative, in whatever raw and rough state it is in, out in the open for all of us to work on.
Be Willing to Kill Off the Bad Ideas
Admitting an idea is bad is not easy at first. But remember, we were chasing sheer quantity in tip Number One. Not all of those ideas are going to be winners. Honestly, they shouldn’t be. You can’t be afraid of taking the bad ideas, crumpling up the paper they’re written on, and sky-hooking them into the nearest trashcan.
Occasionally they aren’t even bad ideas! Sometimes they just don’t fit into the scheme of the narrative anymore. You will find yourself looking at that beautifully crafted story arc with its twists and player choices, and you’ll try to shoehorn it in. Unfortunately, like Cinderella’s step-sister’s foot and the glass slipper, it just won’t fit. Remember, it’s ok to kill off these ideas because if it doesn’t fit for you, it won’t work for the player/reader.
Pivot and Persevere
This is where all three of the previous tips blend together into a delicious stew. Since you prototyped your narrative (Number Three), you will be able to identify where the gaps are. These gaps either come from bad ideas where you need to prune those story branches (Number Two) or from missing steps between one chunk to the next, in which case you can try to bridge it with a new idea (Number One). However, here is where this practice gets its own number instead of being delegated a “summary”.
When you are evaluating your prototype, you will have to consciously make the decision “Should I pivot or persevere?”
Pivoting is when you’ve come to a dark spot that has failed so poorly that it just needs to be removed, replaced, and rewritten. Maybe you get to the end of a narrative road to find out that it is a dead-end and you really should have never gone down this road in the first place. Great news! Because you prototyped first, you found this before you wrote it in stone. It is way easier to swing a u-turn and pivot back to where the story is good.
You can persevere when your prototype road is good enough to move to deeper writing. Maybe it isn’t perfect, yet, but you can feel that it can get there. WARNING! This is not something you do because you just love this idea. It honestly has to feel right in the flow of your prototype and earn the ability to persevere. There is no room for “idea nepotism”; no narrative arc gets a free pass because its the nephew of the boss.
I’ve found by incorporating these Startup mentalities to my writing, I’ve destroyed some of the biggest barriers. I no longer fear the blank page; a.k.a. the Great Void. I am bringing an “idea case” full of good, and less-than-good ideas, to start shaping the page into my vision. I also don’t fear critiques either, because I know i’ve got more ideas and I’m willing to remove any of the ones that don’t work. So get out your notebooks, there are literary startups in your brain, waiting to hit the page running.
The next time you sit down to write (your blog, a story, some game narrative, or copy for your product), fill your “idea case” with as many thoughts as you can.
Find a way to get your writing in the hands of some readers early. Even if it isn’t in a final stage. The roughness can sometimes help readers offer more honest critiques.
Protect your heart now that your favorite idea may not make the cut.
When you do find a spot that isn’t working, dig in and see if you need to pivot, or if you can persevere and improve it.