POP!: Stand out in Any Crowd

Citation

McMellon, C. (2007), "POP!: Stand out in Any Crowd", Journal of Consumer Marketing, Vol. 24 No. 2, pp. 120-121. https://doi.org/10.1108/07363760710737139

If you need to stand out in the clutter of marketing communications read this book. Its focus is that content is not enough to sell an idea. Marketing messages need to be framed and presented properly. Author Sam Horn shows the reader how to do this in 25 short, fun, and easy‐to‐read chapters. The author's POP! Stand out in Any Crowd philosophy is to make your communications POP!, that is, to be purposeful, original, and pithy.

Chapter 1 begins by describing what purposeful means. She (yes, Sam is a female) does not pull any punches. “Communication that features brilliant wordplay doesn't qualify for POP! status unless it does two things: accurately articulates the essence of you and your offering, and positions you positively with the target audience” (p. 4). Now this might sound like more hot air from another marketing pseudo‐guru, but Horn backs up each pronouncement with real‐world examples and a clear how‐to‐do‐it section at the end of each chapter. For the “O” in POP! (i.e. original), author Horn asks the question, “What is it about you that distinguishes you from your competition?” (p. 5). She suggests that being original is one method of differentiation. She defines pithy as “concise and precise” (p. 7). For example, she points out advertising themes that are pithy and successful, such as “Diamonds are Forever” and “Just Do It.” Last, to test ideas, Horn suggests telling your message ideas to potential customers and waiting for a reaction. She feels you can see the reaction if people understand what you want to communicate.

Chapter 2 tackles being purposeful with much how‐to advice. The author's first method is what she calls the W9 form, which answers a series of questions designed to make your presentation more purposeful. These questions include “What am I offering?” and “Why is it worth trying?” (p. 14). The answers to these questions give you the core words you can use in your POP! messages. There is nothing new here, just a nicely worded, organized, and explained discussion of how to develop objectives and strategies.

Chapters 3‐15 contain a variety of techniques to push your creativity towards being original. Chapter 3 begins by having you alphabetize your core words (e.g., name of a product). This technique is an exercise in wordplay by taking your core words and changing letters in them to make new but similar words. For example, “mockumentary” helps this idea POP! out from the crowd. Rightly, author Horn advises marketers to register any new name as a URL immediately. Using these new words also increases the potential for a good soundbite, which leads to more publicity. Her point‐of‐view is to create words that are new and out of the ordinary. Words that will POP!

Chapter 4, “Capture conversational catchphrases,” tells you how to create titles that stand out by paying attention to what your customers are saying and seeing. Then, you use what you hear and see to communicate back to them.

Chapter 5 introduces the reader to the Valley Girl Technique, which “… links something unfamiliar (you and your project) to something they are familiar with and fond of” (pp. 52‐3). For example, this book is like (look for my Valley Girl tilt of the head) a good neighbor (thank you State Farm), it is there for you. Comparing yourself or your project to a popular person, movie, book, or song is a good technique to tell and to sell in one easy phrase.

Chapter 6 is about humor and where to find it if we are not naturally funny. Most important is to keep a file of humor to draw upon when needed. Author Horn ends with two thoughtful suggestions: keep your humor purposeful and do not be afraid to make fun of yourself.

Chapter 7 contains some good advice about using clichés. “Trotting out tired expressions (such as ‘it's nice to be important, but it's more important to be nice’) sends the message that we don't want to have anything new to add to the conversation” (p. 71). Instead, we are told to substitute, rearrange, or use the unexpected. Horn wants to avoid eye‐rollers and cut out the platitudes. She recommends the internet site, www.ClicheSite.com to find clichés that you can change to your advantage.

Chapter 8, “Aflac your topic so they see what you're saying,” emphasizes how communication can be visualized through humanizing messages like the AFLAC duck and the GEICO gecko. Her mantra here is “When people see it, they get it” (p. 80). You make this happen by shifting nonsensical names from logic to emotion. Beyond visualization are techniques like using acronyms, play‐on‐words, and contradicting comparisons.

Chapter 9 tells you how to create the next best thing through the half‐and‐half technique. This technique combines words to create products that sound new and interesting. Examples cited are, “Chrismukka” (Christmas and Hanukkah) or a beer and hot dog restaurant names “Frank 'n Stein.” This technique combines opposites (new and old or best and worst), uses malapropisms, and discusses other forms of word play. It is a fun chapter to read.

In Chapter 10, the author suggests we seek that which is counterintuitive. To state the obvious is bland, to state something that is opposite or that is not obvious is more attention getting. Horn sums it up this with a series of questions: “Is your message thought‐provoking? Does it prompt people to reassess the way they've always done things? Are you introducing stop‐em‐in‐their‐tracks epiphanies that cause people to question their automatic behavior? Is your product the exact opposite of everything else on shelf? If so, well done. If not  … ” (pp. 104‐105). Horn's words are strong as she speaks directly to the reader. There are many more important points in this book, but space limits what we can write. Here are some highlights.

Chapters 10‐15 continue the assault on being original in marketing communications with such topics as turning your assumptions upside down, creating meaningful metaphors using the Triple A method (read the book to find out what this is), and paying attention to culture to expand our communication abilities. Horn also reminds us to ask questions instead of using declarative sentences, jazz up everything and, explore wordplay through onomatopoeia. (Yes, you remember onomatopoeia. They are the words that are also sounds, like “boom” or “klunk”.)

Chapters 16‐18 focus on being pithy. Communications should be strong, unique, and stylistic, using such techniques as rhyming and repetition. Each of the technique chapters are chock‐full of examples and a step‐by‐step process for achieving your goals. Chapters 19‐24 are all mini‐lessons on holding your target's attention by using first person, hero, or real person stories. Such techniques as the proper use of segues, juxtaposing ideas for clarity, and the all important “aha” are discussed. Chapter 25 wraps up with specifics about ending any communication with specific action steps for the consumer. This is to switch people from thinking to doing. This book ends with writer Horn's POP! Hall of Fame which includes book titles like Freakonomics and Eats, Shoots and Leaves, product names like “Aflac” and “Java Jacket,” and internet sites such as “Google” and “GoDaddy.”

In summary, this fun, easy‐to‐read, how‐to book is a must read for anyone interested in framing their communication in an interesting and eye‐catching manner. It is a book for anyone who wants to communicate in a manner that not only communicates the content, but is remembered. Product names, titles of papers, headings, and subheadings are all covered. All written in the same style as what author Sam Horn preaches” POP!”. It is purposeful, original, and pithy. This is a book that needs to be read more than once before you get everything Sam Horn has to say. It is going onto my bookshelf where I can easily reach it.