by Dan Heath
COMMENTS ON MESSAGE 2: The core of this message is that skin damage is cumulative and irreversible. So we’ve rewritten the message to stress that point and eliminate nonessential information. We’ve done this to illustrate the process of forced prioritization; we’ve had to eliminate some interesting stuff (such as the references to melanin) in order to let the core shine through.
We’ve tried to emphasize the core in a couple of ways. First, we’ve unburied the lead—putting the core right up front. Second, we’ve added the analogy to aging to hammer home the idea that damage is irreversible. Third, we’ve added a concrete and perhaps unexpected image: Sunburns are a signal of damage; they may disappear, but the underlying damage does not.
SCORECARD
Checklist Message 1 Message 2
Simple -
Unexpected -
Concrete -
Credible - -
Emotional - -
Story - -
PUNCH LINE: Avoid burying the lead. Don’t start with something interesting but irrelevant in hopes of entertaining the audience. Instead, work to make the core message itself more interesting.
Names, Names, and Names
Dunn, North Carolina, is a small town about forty miles south of Raleigh. It has 14,000 residents and its workforce is primarily blue collar. The local diner is packed in the morning with people eating big breakfasts and drinking coffee. Waitresses call you “hon.” The town recently got a Wal-Mart.
All in all, Dunn is a pretty normal place, except for one fact: Almost everyone there reads the local paper, the Daily Record. As a matter of fact, more than everyone in Dunn reads the paper.
The Daily Record’s penetration in the Dunn community is 112 percent, which is the highest penetration of any newspaper in the country. For a community penetration to exceed 100 percent, one of two things must be true: (1) People from outside Dunn—perhaps people commuting to jobs in Dunn—are buying the paper; or (2) some households are buying more than one paper. Maybe it’s hard for some couples in Dunn to share.
What’s the explanation for this remarkable success? The people of Dunn certainly have plenty of options for their news: USA Today, the Raleigh News & Observer, CNN, the Internet, and hundreds of other outlets. So why is the Daily Record so popular?
The Dunn Daily Record was founded in 1950 by Hoover Adams. Adams was born with ink in his blood. He got his first byline by sending dispatches from his Boy Scout camp. By the time he was in high school he was serving as a stringer—a freelance reporter—for the Raleigh paper. After World War II, Adams became the editor of the Dunn Dispatch. Eventually, he grew restless at the Dispatch and decided to start his own paper, the Daily Record. In 1978, after twenty-eight years of head-to-head competition, the Dispatch finally gave up and sold out to him.
Across the fifty-five years of his tenure as publisher, Adams has had a remarkably consistent editorial philosophy. He believes that newspapers should be relentlessly local in their coverage. In fact, he’s a zealot about community coverage.
In 1978, frustrated by what he felt was insufficient focus on local issues in the paper, he wrote a memo to his staff, explaining his views:
“All of us know that the main reason anybody reads a local newspaper is for local names and pictures. That’s the one thing we can do better than anybody else. And that’s the thing our readers can’t get anywhere else. Always remember, the mayor of Angier and the mayor of Lillington are just as important to those towns as the mayor of New York is to his people.”
Let’s be clear: Adams’s focus on local coverage is not a revolutionary sentiment. In fact, among publishers of small newspapers it would be utterly uncontroversial. Yet it’s easy enough to see that the idea has not become a reality at most papers. The average local newspaper is loaded with wire stories, analyses of pro sports teams, and spot photos with nary a person in sight.
In other words, finding the core isn’t synonymous with communicating the core. Top management can know what the priorities are but be completely ineffective in sharing and achieving those priorities. Adams has managed to find and share the core. How did he do it?
Sharing the Core
Adams found the core of his newspaper operations: local focus. Then he turned his attention to sharing his core message—making it stick with his staff. For the rest of the chapter—in fact, the rest of the book—we will discuss ways to get core messages to stick. And we will start by studying the way Adams has made his “local focus” message stick.
While many publishers pay lip service to the value of local focus, Adams is an extremist about it. He’s willing to hurt the bottom line for local focus:
The fact is, a local newspaper can never get enough local names. I’d happily hire two more typesetters and add two more pages in every edition of each paper if we had the names to fill them up.
He’s willing to be boring for local focus:
I’ll bet that if the Daily Record reprinted the entire Dunn telephone directory tonight, half the people would sit down and check it to be sure their name was included…. When somebody tells you, “Aw, you don’t want all those names,” please assure them that’s exactly what we want, most of all!
He gleefully exaggerates in order to emphasize the value of local focus, quoting a saying of a friend, Ralph Delano, who runs the local paper in Benson:
If an atomic bomb fell on Raleigh, it wouldn’t be news in Benson unless some of the debris and ashes fell on Benson.
In fact, asked why the Daily Record has been so successful, Adams replies, “It’s because of three things: Names, names, and names.”
What’s going on here? Adams has found the core idea that he wants to communicate—that local focus is the key to his newspaper’s success. That’s Step 1. Step 2 is to communicate the core to others. And he does that brilliantly.
Look at the techniques Adams uses to communicate his seriousness about local focus. He uses an analogy: comparing the mayor of Angier to the mayor of New York. (We’ll have more to say about analogy later in this chapter.) He says he’d hire more typesetters if the re porters could generate enough names. This is forced prioritization: Local focus is more important than minimizing costs! (Not a common sentiment among small-town papers. See the “Unexpected” chapter.)
He also speaks in clear, tangible language. What does he want? Names. He wants lots of individual names in the newspaper every day. (See the “Concrete” chapter.) This idea is concrete enough that everyone in the organization can comprehend and use it. Is there any room for misunderstanding? Is there a staffer who won’t understand what Adams means by “names”?
“Names, names, and names” is a simple statement that is symbolic of a core truth. It’s not just that names are helpful. In Adams’s mind, names trump costs. Names trump well-written prose. Names trump nuclear explosions in neighboring communities.
For fifty-five years, since Adams founded the paper, his core value of community focus has helped hundreds of people at the paper, in thousands of circumstances, make good decisions. As a publisher, Adams has presided over close to 20,000 issues. And each of those issues involved countless decisions: Which stories do we cover? What’s important in the stories? Which photos do we run? Which do we cut out to save space?
Adams can’t possibly be personally involved in the vast majority of these hundreds of small decisions. But his employees don’t suffer from decision paralysis, because Adams’s Commander’s Intent is clear: “Names, names, and names.” Adams can’t be everywhere. But by finding the core and communicating it clearly, he has made himself everywhere. That’s the power of a sticky idea.
Simple = Core + Compact
Adams is a clever wordsmith, but his most useful bit of wordplay is probably his least clever: “Names, names, and names.” This phrase is useful and memorable because it is highly concrete, but also because it is highly succinct. This example illustrates a second aspect of simplicity: Simple messages are core and comp
act.
At one level, the idea of compactness is uncontroversial. Rarely will you get advice to make your communications lengthy and convoluted, unless you write interest-rate disclosures for a credit card company. We know that sentences are better than paragraphs. Two bullet points are better than five. Easy words are better than hard words. It’s a bandwidth issue: The more we reduce the amount of information in an idea, the stickier it will be.
But let’s be clear: Compactness alone isn’t enough. We could latch on to a compact message that isn’t core; in other words, a pithy slogan that doesn’t reflect our Commander’s Intent. Compact messages may be sticky, but that says nothing about their worth. We can imagine compact messages that are lies (“The earth is flat”), compact messages that are irrelevant (“Goats like sprouts”), and compact messages that are ill-advised (“Never let a day pass without a shoe purchase”).
In other cases, compactness itself can come to seem an unworthy goal. Lots of us have expertise in particular areas. Becoming an expert in something means that we become more and more fascinated by nuance and complexity. That’s when the Curse of Knowledge kicks in, and we start to forget what it’s like not to know what we know. At that point, making something simple can seem like “dumbing down.” As an expert, we don’t want to be accused of propagating sound bites or pandering to the lowest common denominator. Simplifying, we fear, can devolve into oversimplifying.
So if we’re going to define “simple” as core and compact, we need to assure ourselves that compactness is worth striving for. We’ve already got core, why do we need compact? Aren’t “stripped-down” ideas inherently less useful than fully elaborated ideas? Suppose we took compactness to its most extreme form. Is it possible to say something meaningful in the span of a sound bite?
“A Bird in the Hand”
For thousands of years, people have exchanged sound bites called proverbs. Proverbs are simple yet profound. Cervantes defined proverbs as “short sentences drawn from long experience.” Take the English-language proverb: “A bird in the hand is worth two in the bush.” What’s the core? The core is a warning against giving up a sure thing for something speculative. The proverb is short and simple, yet it packs a big nugget of wisdom that is useful in many situations.
As it turns out, this is not just an English-language proverb. In Sweden, the saying is “Rather one bird in the hand than ten in the woods.” In Spain: “A bird in the hand is better than a hundred flying birds.” In Poland: “A sparrow in your hand is better than a pigeon on the roof.” In Russia: “Better a titmouse in the hand than a crane in the sky.”
Other variants can be found in Romanian, Italian, Portuguese, German, Icelandic, and even medieval Latin. The first documented case in English is from John Bunyan’s Pilgrim’s Progress in 1678. But the proverb may be much older still. In one of Aesop’s fables, a hawk seizes a nightingale, who pleads for its life, arguing that it is too tiny a morsel to satisfy the hawk. The hawk replies, “I would be foolish to release the bird I have in my hand to pursue another bird that is not even in sight.” This story dates from 570 B.C.
The “bird in hand” proverb, then, is an astoundingly sticky idea. It has survived for more than 2,500 years. It has spread across continents, cultures, and languages. Keep in mind that nobody funded a “bird in hand” advertising campaign. It spreads on its own. Many other proverbs share this longevity. In fact, a repertoire of proverbs has been found in almost every documented culture. Why? What is their purpose?
Proverbs are helpful in guiding individual decisions in environments with shared standards. Those shared standards are often ethical or moral norms. Proverbs offer rules of thumb for the behavior of individuals. The Golden Rule, “Do unto others as you would have them do unto you,” is so profound that it can influence a lifetime of behavior. The Golden Rule is a great symbol of what we’re chasing in this chapter: ideas that are compact enough to be sticky and meaningful enough to make a difference.
Great simple ideas have an elegance and a utility that make them function a lot like proverbs. Cervantes’s definition of “proverbs” echoes our definition of Simple ideas: short sentences (compact) drawn from long experience (core). We are right to be skeptical of sound bites, because lots of sound bites are empty or misleading—they’re compact without being core. But the Simple we’re chasing isn’t a sound bite, it’s a proverb: compact and core.
Adams managed to turn his core idea—the need to focus relentlessly on local issues—into a journalistic proverb. “Names, names, and names” is an idea that helps guide individual decision-making in a community of shared standards. If you’re a photographer, the proverb has no value as a literal statement, unless you plan to shoot name tags. But when you know that your organization thrives on names—i.e., the specific actions taken by specific members of the local community—that knowledge informs the kinds of photo ops you look for. Do you shoot the boring committee deliberations or the gorgeous sunset over the park? Answer: the boring committee deliberations.
Palm Pilot and the Visual Proverb
Compact ideas help people learn and remember a core message. But they may be even more important when it comes time to help people act properly, particularly in an environment where they have to make lots of choices.
Why do remote controls have more buttons than we ever use? The answer starts with the noble intentions of engineers. Most technology and product-design projects must combat “feature creep,” the tendency for things to become incrementally more complex until they no longer perform their original functions very well. A VCR is a case in point.
Feature creep is an innocent process. An engineer looking at a prototype of a remote control might think to herself, “Hey, there’s some extra real estate here on the face of the control. And there’s some extra processing capacity on the chip. Rather than let it go to waste, what if we give people the ability to toggle between the Julian and Gregorian calendars?”
The engineer is just trying to help—to add another gee-whiz feature that will improve the remote control. The other engineers on the team, meanwhile, don’t particularly care about the calendar-toggle. Even if they think it’s lame, they probably don’t care enough to stage a protest: “Either the calendar-toggle button goes or I quit!” In this way, slowly and quietly, remote controls—and, by extension, other types of technologies—are featured to death.
The Palm Pilot team, aware of this danger, took a hard line against feature creep. When the team began its work, in the early 1990s, personal digital assistants (PDAs) had an unblemished record of failure. Apple’s famous debacle with its Newton PDA had made other competitors gun-shy.
One of the competitors on the PDA market in 1994 looked like a malnourished computer. It was a bulky device with a keyboard and multiple ports for peripherals. Jeff Hawkins, the Palm Pilot team leader, was determined that his product would avoid this fate. He wanted the Palm Pilot to be simple. It would handle four things: calendars, contacts, memos, and task lists. The Palm Pilot would do only four things, but it would do them well.
Hawkins fought feature creep by carrying around a wooden block the size of the Palm. Trae Vassallo, a member of the Palm V design team, says, “The block was dumb, which resonated with the simple technological goals of the product, but it was also small, which made the product elegant and different.” Hawkins would pull out the wooden block to “take notes” during a meeting or “check his calendar” in the hallway. Whenever someone suggested another feature, Hawkins would pull out the wooden block and ask them where it would fit.
Vassallo said that the Palm Pilot became a successful product “almost because it was defined more in terms of what it was not than in terms of what it was.” Tom Kelley, from IDEO, a prominent Silicon Valley design firm, made a similar point: “The real barrier to the initial PDAs … was the idea that the machine had to do nearly everything.”
Hawkins knew that the core idea of his project needed to be elegance and simplicity (and a tenacious avoidanc
e of feature creep). In sharing this core idea, Hawkins and his team used what was, in essence, a visual proverb. The block of wood became a visual reminder to do a few things and do them well.
There is a striking parallel between the development of the Palm Pilot and the Clinton campaign led by James Carville. In both cases, the teams were composed of people who were knowledgeable and passionate about their work. Both teams boasted plenty of people who had the capability and the desire to do a lot of different things—argue every issue and engineer every feature. Yet in both cases the team needed a simple reminder to fight the temptation to do too much. When you say three things, you say nothing. When your remote control has fifty buttons, you can’t change the channel anymore.
Using What’s There
Our messages have to be compact, because we can learn and remember only so much information at once. But suppose we’ve assessed the core of our message and we have too much information to aspire to the compactness of a proverb. How do we convey lots of information when we need to? The following exercise is designed to reinforce the need for compactness and to provide a hint about how to cram more information into a compact message.
Here are the rules of this exercise: Spend ten to fifteen seconds, no more, studying the letters below. Then close the book, pull out a sheet of paper, and write down as many letters as you can remember. Spoiler alert: Don’t turn the page until you’ve finished the exercise.
J FKFB INAT OUP SNA SAI RS
If you’re like most people, you probably remembered about seven to ten letters. That’s not much information. Compactness is essential, because there’s a limit to the amount of information we can juggle at once.
Now turn the page and try the exercise again.
There’s a twist this time. We haven’t changed the letters or the sequence. All we’ve done is change the way the letters are grouped. Once again, study the letters for ten to fifteen seconds, then close the book and test your recall.