“Just Do It.” Those words make up perhaps the stickiest marketing slogan of the past couple decades. In three words, only eight letters, Nike manages to say everything they want you to think, feel, believe about their brand. Three words to sum up the competitive edge Nike shoes and sports equipment promises, the can-do attitude that Americans so strongly believe, the strength, control, and optimism that Nike relies on to sell shoes.Read full content
“Just do it” is, in a word, simple. It’s everything Nike is (or wants us to think it is) boiled down to its absolute essence. Certainly Nike could rattle off a dozen reasons its shoes are superior to its competitors (and surely its competitors could rattle off the same number of reasons that they’re superior to Nike) but they don’t. “Just do it” speaks for itself.
Keep It Simple, Stupid
In Chip and Dan Heath’s Made to Stick (“M2S” hereafter), simplicity is the first principle of stickiness. Most of us shy away from simplicity — simple is seen as less than, inferior, dumb. Simple is seen as the opposite of complex (better, more, superior, smart), when the reality couldn’t be more different.
Simple is not the opposite of complex. Consider the example I gave in my introduction to M2S, Einstein’s formula E=MC2, which wrestles the vastness and mystery of the universe into a bite-size slogan that practically everyone knows (even if few understand it). Einsteinian relativity certainly doesn’t lack for complexity, yet it can be grasped, at least in part, in the simplicity of an elegant mathematical formula.
Simple is opposed to not complexity but complication, the “clutter” that stands between us and an idea. Think of the average person at the camera counter at Best Buy — each camera sits above a card listing specifications like shutter delay time, built-in memory, megapixels, the size of the CCD, and the f-stop range of the lens. Most of which means nothing to the average consumer; all they want to know is which camera is the best for them. Standing there, assailed by facts and figures — even if we allow that the specs are accurate — they literally have no idea.
What is wanted is someone to cut through the clutter and say “this is the camera that’s right for you”, and if you’re a communicator (whether you write, lecture, give presentation, podcast, produce commercials, or whatever) you could do worse than setting as your goal to be the one who sweeps the choices aside and says “this is the one you want”.
In today’s relentlessly Darwinian free market philosophy, choice is supposed to be the best thing since freeze-dried ice cream. But your job as a communicator is not to celebrate the free market, it’s to inspire action in your audience — to get them to do what you want, whether that’s buying your product, voting for your candidate, funding your proposal, or accepting you into a graduate program.
In M2S, the Heath’s discuss a research program studying the psychology of choices in college students. One group of students were told that a prominent speaker whose work they’re interested in would be on campus that night, and asked whether they would prefer to see the presentation or stay in and study. As you can expect, a large percentage of students chose to see the speaker. Another group was told the same thing, but they were also told that there was a foreign film they’d wanted to see showing in the campus theater at the same time as the presentation. In this group, something odd happened — the largest group of students chose to go neither to the presentation nor to the foreign film; the majority chose to stay in and study!
This study demonstrates something psychologists call “decision paralysis”. As it happens, our brains simply don’t handle choice all that well. Given a choice between two equally good options, we seize up, riddled with anxiety over making the wrong choice or, in choosing, giving up an opportunity, so we retreat to the tried and true.
So to make an idea sticky, we have to eliminate competing choices, to strip our ideas down to the core. There may be ten good reasons why someone should vote for you, buy from you, or promote you, but nobody can hold ten thoughts, even ten good thoughts, in their mind at once. Instead of offering the ten good reasons to do something, you offer the one best reason.
Communicating the Core?
Sticky ideas are more than just the pared-down essence of more complex ideas, though. Finding the core of your message is the first step; figuring out how to get it across is the next. Ideas need to be more than just good, or even great, they need to resonate with your audience, to hit ’em where it hurts.
One way to do this is to take advantage of the ideas that your audience is already carrying around with them. Returning yet again to Einstein (who apparently knew what he was doing!), when Einstein wanted to explain what it meant that motion is relative, he turned to an experience that everyone of his generation would have been familiar with: riding on a train. Imagine, he said, someone walking backwards on a moving train at the same speed the train was moving forward; to the observer beside the tracks, it would look as if he were not moving at all, while to an observer on the train. it would appear he was moving quite fast indeed. Relativity, Einstein assured us, was like that.
The use of analogy relates something we have never experienced to something we are already familiar with, making it that much easier to understand and accept. If we’re really good at it, we can even tap into all the positive feelings people hold for the thing we’re using to explain our idea. The Heaths highlight a particularly good example of this, done by people who are especially talented at manipulating feelings: the Hollywood high concept pitch.
As you can imagine, most Hollywood people are busy, busy, busy — and have to wade through a lot of crap to find the handful of movies worth spending money to make and distribute (consider that — the movies in the cineplex right now are what was left after the worst stuff was thrown out). So Hollywood has developed a kind of shorthand for pitching movies, the high concept, which sums up the proposed movie by comparing it to movies everyone wishes they had made. Speed‘s high concept is well-known: Die Hard on bus. Everyone wants to produce a movie as successful as Die Hard, so this pitch appeals directly to the primal urges that drive Hollywood filmmakers.
Guided by the Core
When ideas are presented simply enough, they become guides to further action. The Heaths call this “generative analogy”, a decidedly un-sticky phrase, which simply means that the ideas tell us what to do. They use the example of Disney’s park employees, who are referred to as “cast members”; when they’re working, they’re “onstage”. By comparing employees to the cast of a theatrical production, Disney is providing them with a model for their actions that guides them even when no explicit rule or script tells them what to do. Should you scream at a kid who’s being rude? Would an actor stop in mid-scene to chastise a rude child in the audience? Then you’d better grin and bear it, Disney boy!
Compare the associations and meanings wrapped up in the idea of “cast members” with the kind of label your name-tag might have borne at your first job: maybe you were something like “customer relations associate”. Maybe you don’t remember — most of them aren’t too sticky. How does a customer relations associate act when someone is rude to them? Can a customer relations associate take her break in front of the store? (“Cast members” know the answer — absolutely not. You wouldn’t step off-stage and have a seat in the audience, would you?)
The key to simplicity lies in finding the core of your idea and presenting it in a powerful way. In some cases, simplicity itself is enough to make an idea sticky, but most of the time, simplicity works in tandem with the Heath’s other five principles. Next time, we attack the unexpected (or does it attack us?!). Until then, though, share your own ideas about simplicity in the forum.
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