Add You - Three Steps To Pump Up The Drama In Your Copy

At a quick glance it would appear that fiction writing and copywriting are two mutually exclusive disciplines. But it just isn't so.

Fiction and copywriting share the same heart: emotion.

What's the goal for a fiction writer? I mean a slam-bang Harry Potter series type fiction writer? To write best-selling novels.

And what's the target for a copywriter? To write best-selling controls, of course.

There are three fiction techniques that can pump up the drama in your copy:

• Imagery

• Tension

• Release

Let's look at them one at a time.

IMAGERY

Imagery is defined as 'mental images' or 'figurative language'. What it does is create pictures in a reader's head through words.

The best way to get an image across is to find some common ground with the reader. That's where similes and metaphors help. While some might think that this kind of writing has no business being in direct-mail copy, I'm here to disprove that.

Here's an example for organic tranquilizer we’ll call Calm-All:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips.

We've all, at one time in our lives, probably felt like Becky. And that paragraph gives us a visual image of how she’s feeling. But what about Robin? How about this:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips -- the ones that were all lined up -- just so -- like soldiers on a battlefield.

The addition of 14 words, 'the ones that were all lined up -- just so -- like soldiers on a battlefield', added depth to the scene and gave us a mental picture of Robin without fully describing her. The soldiers on the battlefield simile sets up the tension.

TENSION

Tension can manifest itself in lots of forms. There are tension headaches, tension rods, and tension in fabric. One of the best tools a writer can have is the ability to create tension in a storyline.

Now, this does not have to be the cliffhanger from Dallas -- it can and should be more subtle than that.

It could be just a line.

That's it, right there. The line right above where you are now -- a one sentence paragraph -- creates tension all by itself simply by disrupting flow. That's where you want something memorable, disturbing, thoughtful.

How about Becky and Robin? What was the simile about the boxes of paper clips? That they were all lined up -- just so -- like soldiers on a battlefield.

The tension started in two places in that phrase: 'just so' and 'soldiers on a battlefield'.

Should You Allow Buyer To Rent During Closing?
It's not uncommon for an investor to sell a house and have the buyer request the right to rent and occupy the property while the closing is being completed.You're a bad guy if you refuse and often in hot water of you agree. Here are the potential problems with renting before closing:1. Buyer is in the home for two months and then the potential lender decides the buyer can't qualify for the mortgage loan. Now that's bad news!2. Buyer is in the home for two months... gets a bad case of buyer's remorse and wants out of the deal. Now that's bad news!3. Buyer is in the home for two months and comes to the closing table with a long list of needed repairs he has discovered during residency. Now that's bad news!4. Buyer is in the home for two months during which time he does serious damage to the property and then disappears. Now that's bad news!Is there any
the drama in your copy:

• Imagery

• Tension

• Release

Let's look at them one at a time.

IMAGERY

Imagery is defined as 'mental images' or 'figurative language'. What it does is create pictures in a reader's head through words.

The best way to get an image across is to find some common ground with the reader. That's where similes and metaphors help. While some might think that this kind of writing has no business being in direct-mail copy, I'm here to disprove that.

Here's an example for organic tranquilizer we’ll call Calm-All:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips.

We've all, at one time in our lives, probably felt like Becky. And that paragraph gives us a visual image of how she’s feeling. But what about Robin? How about this:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips -- the ones that were all lined up -- just so -- like soldiers on a battlefield.

The addition of 14 words, 'the ones that were all lined up -- just so -- like soldiers on a battlefield', added depth to the scene and gave us a mental picture of Robin without fully describing her. The soldiers on the battlefield simile sets up the tension.

TENSION

Tension can manifest itself in lots of forms. There are tension headaches, tension rods, and tension in fabric. One of the best tools a writer can have is the ability to create tension in a storyline.

Now, this does not have to be the cliffhanger from Dallas -- it can and should be more subtle than that.

It could be just a line.

That's it, right there. The line right above where you are now -- a one sentence paragraph -- creates tension all by itself simply by disrupting flow. That's where you want something memorable, disturbing, thoughtful.

How about Becky and Robin? What was the simile about the boxes of paper clips? That they were all lined up -- just so -- like soldiers on a battlefield.

The tension started in two places in that phrase: 'just so' and 'soldiers on a battlefield'.

The Biggest Networking Mistake
The biggest networking mistake We all know it . We all want to do it...later. Networking is THE way for professional success. More than great monthly reports, exceptional achievements, annual bonus, special distinction, awards etc. These things CONTRIBUTE to your network. But the active network beats all of the above. I am part of a pharmaceutical network whose motto is BEG, STEAL OR BORROW! I love this ! Yes we are part of this network to share. Although the emphasis SEEMS to be on the taking part of the deal, the other part is just as important, the giving!Most people will join a network to get help. Help in finding solutions to a problem ( the communities of practice are great for that ), help in finding kindred spirits, help in finding someone who knows someone who might help and help in finding a new job. Ouch! That last one hurts. Going to a network with a very clear intention tol Calm-All:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips.

We've all, at one time in our lives, probably felt like Becky. And that paragraph gives us a visual image of how she’s feeling. But what about Robin? How about this:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips -- the ones that were all lined up -- just so -- like soldiers on a battlefield.

The addition of 14 words, 'the ones that were all lined up -- just so -- like soldiers on a battlefield', added depth to the scene and gave us a mental picture of Robin without fully describing her. The soldiers on the battlefield simile sets up the tension.

TENSION

Tension can manifest itself in lots of forms. There are tension headaches, tension rods, and tension in fabric. One of the best tools a writer can have is the ability to create tension in a storyline.

Now, this does not have to be the cliffhanger from Dallas -- it can and should be more subtle than that.

It could be just a line.

That's it, right there. The line right above where you are now -- a one sentence paragraph -- creates tension all by itself simply by disrupting flow. That's where you want something memorable, disturbing, thoughtful.

How about Becky and Robin? What was the simile about the boxes of paper clips? That they were all lined up -- just so -- like soldiers on a battlefield.

The tension started in two places in that phrase: 'just so' and 'soldiers on a battlefield'.

Work A Home Based Shopping Network
It is really frustrating when you hear of all the people making 5,000, 10,000 or more a month from their internet home based business. Everywhere you turn there are ways and means but you don't have a clue as to what to do next. It is interesting that all of these sites will get you in the door for $9.95 BUT if you want to really make serious money it will cost $5,000. Hell if I had $5,000 I probably wouldn't be looking as hard to build a business.You and I are told all you have to do is "build it and they will come." Well this isn't your Iowa corn field "Field of Dreams." There's more to it than just having a website. A website without any traffic or "eye balls" is like having a drinking glass with no bottom---useless. Well where does the traffic come from then? This is where Paul Harvey's "Rest of the Story" would be helpful. This is the moment in time for the truth to come forth.ed up -- just so -- like soldiers on a battlefield.

The addition of 14 words, 'the ones that were all lined up -- just so -- like soldiers on a battlefield', added depth to the scene and gave us a mental picture of Robin without fully describing her. The soldiers on the battlefield simile sets up the tension.

TENSION

Tension can manifest itself in lots of forms. There are tension headaches, tension rods, and tension in fabric. One of the best tools a writer can have is the ability to create tension in a storyline.

Now, this does not have to be the cliffhanger from Dallas -- it can and should be more subtle than that.

It could be just a line.

That's it, right there. The line right above where you are now -- a one sentence paragraph -- creates tension all by itself simply by disrupting flow. That's where you want something memorable, disturbing, thoughtful.

How about Becky and Robin? What was the simile about the boxes of paper clips? That they were all lined up -- just so -- like soldiers on a battlefield.

The tension started in two places in that phrase: 'just so' and 'soldiers on a battlefield'.

What if Giving a Presentation Were Easy?
Recently on the “Apprentice” Television Show with Donald Trump we saw someone get fired for a lousy presentation. She actually pronounced the companies name wrong? Of course those executives from that company hearing this literally cringed, yes on TV. She of course tried to blame the others as usual “Blame Game” politics in the boardroom with Donald Trump, yet for some reason it appears to be a lesson there. No matter what the presentation is paramount and like Zig Ziglar says; “Nothing Happens Until Someone Sells Something.” Yet we all know that giving a presentation is not easy, you must be an absolute perfectionist and know your product or service better than any other and have done some comprehensive research on the company you are presenting too. This is a good thing as it weeds out the weak, ill prepared and those who are weak in performance and rewards those who are at the top of their game,liffhanger from Dallas -- it can and should be more subtle than that.

It could be just a line.

That's it, right there. The line right above where you are now -- a one sentence paragraph -- creates tension all by itself simply by disrupting flow. That's where you want something memorable, disturbing, thoughtful.

How about Becky and Robin? What was the simile about the boxes of paper clips? That they were all lined up -- just so -- like soldiers on a battlefield.

The tension started in two places in that phrase: 'just so' and 'soldiers on a battlefield'.

• 'Just so' -- Sure, I could've made it longer, explained about distance between the boxes or described how each box end matched the next one perfectly. But that would've been too long. “Just so” describes Robin’s anal compulsiveness without being wordy.

• 'Soldiers on the battlefield' -- Not only does this visual give you an idea of the kind of precision Robin demands, but the “battlefield” states in one word the atmosphere in that room.

The icing on the tension cake is a line you haven't seen yet:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came unglued. Threw Robin’s staplers and boxes of paper clips -- the ones that were all lined up -- just so -- like soldiers on a battlefield.

She even wrote on the walls.

Now, by itself, wall writing isn't that big a deal. After all, you probably did it when you were a kid or during that stint as a graffiti artist in San Francisco.

So what makes it more? The fact that it follows the paragraph where Becky lost it, had a meltdown, when postal. And it makes you wonder just what she wrote. It creates tension because its behavior you don't expect from a rational adult.

Why?

Because society tells us that when an adult is angry and hurt writing on walls isn't acceptable. It's something a child would do and we can't be seen as having so little control.

Okay, now Becky’s a psychopath because she wrote on some walls. The reader will hold her breath on several levels with different emotions:

• Whoa! What a psycho = shock

• Whew! I'd never be like that = relief

• Wow! Wish I could unleash it all like she did = desire and envy

With 21 words, your direct-mail copy for Calm-All caused your reader want to order to make sure she never reacts like Becky did.

And when she's held her breath long enough, you let her go.

RELEASE

This is the point in a work of fiction where the writer lets go of the reader's throat and lets her come up for air. And it's the thing that keeps readers turning pages whether they are bound in a book or enclosed in an envelope.

Here's Calm-All’s release:

Take Becky: When she learned that Robin had won the award she rightfully deserved, she lost it. Came

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