Unleash the Power of Persuasion with the OATH Formula in Copywriting

Crafting compelling copy isn't about stringing words together; it's about connecting with your audience in a way that resonates with them at their unique stage of awareness. Enter the OATH formula, a strategic approach that can elevate your copywriting game.

What is the OATH Formula?

The OATH formula is a copywriting strategy designed to ensure your copy speaks directly to your audience's level of awareness about your brand, product, or service. It recognizes that not all readers have the same knowledge of your offering. 

OATH = Oblivious, Apathetic, Thinking, Hurting

1. Oblivious: At this stage, your reader has no clue about your brand or what you offer. They're essentially starting with a blank slate, and your copy needs to introduce them to your world.
   
   
2. Apathetic: In the apathetic stage, readers are aware of your existence but are largely uninterested or indifferent to what you provide. Your copy here should aim to spark curiosity and capture their attention.
   
   
3. Thinking: Readers in this stage have recognized a potential need for your product or service. They're considering their options and are open to persuasion. Your copy should inform and guide them toward a decision.
   
   
4. Hurting: At the hurting stage, your audience has a pressing problem that desperately needs solving, and they're actively seeking a solution. Your copy should address their pain points directly and position your offering as the answer they've been searching for.

Tailoring Your Copy to OATH

One of the most significant advantages of the OATH formula is its ability to guide you in crafting copy that speaks directly to your audience's state of mind. Here's how you can adapt your copy for each stage of OATH:

1. Oblivious (Unaware):

• Start with a strong, attention-grabbing headline.
• Provide a concise and engaging introduction to your brand or product.
• Focus on creating brand awareness and piquing their interest.

2. Apathetic (Aware but Indifferent):

• Use compelling storytelling to draw them in.
• Highlight unique selling points and benefits to capture their attention.
• Aim to spark curiosity and create a desire to learn more.

3. Thinking (Considering Options):

• Present informative content that addresses their needs and concerns.
• Provide evidence, testimonials, and case studies to build trust.
• Guide them toward considering your offering as a viable solution.

4. Hurting (Desperately in Need):

• Address their pain points head-on and show empathy.
• Offer immediate solutions and benefits.
• Use urgency and a clear call to action to prompt them to take the next step.

In Conclusion

The OATH formula is a powerful tool in a copywriter's arsenal. By understanding and implementing this strategy, you can create copy that resonates with your audience at every stage of their awareness journey. Remember, effective copywriting isn't one-size-fits-all; it's about tailoring your message to meet your reader where they are. The next time you're crafting copy, consider the OATH formula.

The Question Pro Writers Ask When Hired to Write a Blog Post

When I'm approached about writing blog posts, I always ask: "What's your budget for promoting the post?"

Whether the budget is large, small, or nonexistent, this gives me insight into a number of things, including:

1. Is there a goal for this post/series of posts?

2. Is there a plan to reach that goal?

3. What're the client's expectations?

4. How will success be measured?

5. How serious is this client?

 

The Parking Spot Next to the Front Door

“You could sell sawdust to a lumber mill,” said my boss as he threw his arm around Byron’s shoulders.

The team applauded as Byron held up the contract he had just gotten signed.

Byron was the top dog in the sales department and he wore his status like a custom made suit.

He was charming, smooth, and persuasive.

And he had a cool car that lived in the parking place reserved for the salesperson of the month.

That day, even though I was a rookie kid, I set myself a goal to outsell him and to take over that parking spot.

I hit that goal after 7 months and, from that point on, I consistently outperformed him. 

At the time I think I was more excited about the parking spot than the commission.

 

One afternoon, one of the guys in production asked me how I kept getting the high-profile spot.

“The rep with the highest sales for the month gets to park there,” I said.

“I thought Byron was the number one salesperson.”

“Byron’s a superstar.”

“Then why do you get the spot?”

 

“Byron closes a lot of deals with the companies that the boss says, ‘Those guys’ll never buy.’”

“The boss must love that.”

“Yep.”

“Then how come you always get the spot.”

“I sell to businesses that want and need our stuff.”

Byron was a star and the boss loved that he'd bring in high profile accounts that were considered impossible to sell.

But Byron's accounts would drop off when they didn't get results. Mine would stick around 'cause we worked for them.

So I sold more than the rock star. And I got the parking spot next to the front door.

And, although, like everybody, I was impressed with Byron's style, I learned that I could do better by targeting businesses that wanted and needed what I was selling.

Now I'm a copywriter. 

So I'm still selling. 

And if anybody tells me, "You could sell sawdust to a lumber mill," I'll be mildly offended and say, "But I wouldn't."

Writers Trash Talking Other Writers

How would you like your writing to be reviewed by best-selling, award-wining writers?

Not so much based on these opinions famous authors such as Hemingway, Faulkner, and Twain offered on the works of other famous authors like Orwell, Rowling, and Kerouac.

Buckle your seatbelt ... it's about to get nasty.

Friedrich Nietzsche on Plato: “Plato was a bore.”

Leo Tolstoy on Friedrich Nietzsche: “Nietzsche was stupid and abnormal.”

Virginia Woolf on James Joyce: "[Ulysses is] the work of a queasy undergraduate scratching his pimples."

 

Mark Twain on Jane Austen: "I often want to criticize Jane Austen, but her books madden me so that I can't conceal my frenzy from the reader; and therefore I have to stop every time I begin. Every time I read Pride and Prejudice, I want to dig her up and hit her over the skull with her own shin-bone." 

_________________________

William Faulkner on Ernest Hemingway: 

"No courage. Never been known to use a word that might send the reader to a dictionary."

 

Ernest Hemingway on William Faulkner: 

"Poor Faulkner. Does he really think big emotions come from big words?"

_________________________

Robert Louis Stevenson on Walt Whitman: "Like a large shaggy dog, just unchained, scouring the beaches of the world and baying at the moon."

 

Oscar Wilde on Alexander Pope: "There are two ways of disliking poetry; one way is to dislike it, the other is to read Pope."

 

Cyril Connolly on George Orwell: "He could not blow his nose without moralising on the state of the handkerchief industry."

 

Katherine Mansfield on E.M. Forrester: "[Howard's End] is not good enough. E.M. Forster never gets any further than warming the teapot. He's a rare fine hand at that. Feel this teapot. Is it not beautifully warm? Yes, but there ain't going to be no tea." 

Harold Robbins on Ernest Hemingway:
“Hemingway was a jerk.”

 

Edmund Wilson on Evelyn Waugh: "His style has the desperate jauntiness of an orchestra fiddling away for dear life on a sinking ship." 

Truman Capote on Jack Kerouac: "None of these people [in the Beat Generation] have anything interesting to say, and none of them can write, not even Mr. Kerouac. It's not writing, it's typing."

 

Tom Stoppard on Bertolt Brecht: "Personally I would rather have written Winnie-the-Pooh than the collected works of Brecht." 

_________________________

D.H. Lawrence on Herman Melville: 

"Nobody can be more clownish, more clumsy and sententiously in bad taste, 

than Herman Melville, even in a great book like 'Moby-Dick…"

_________________________

 

Evelyn Waugh on Marcel Proust: "I am reading Proust for the first time. Very poor stuff. I think he was mentally defective."

 

Henry James on Edgar Allan Poe: "[To take Poe] with more than a certain degree of seriousness is to lack seriousness one's self. An enthusiasm for Poe is the mark of a decidedly primitive stage of reflection."

 

Ernest Hemingway on T.S. Eliot: "If I knew that by grinding Mr. Eliot into a fine dry powder and sprinkling that powder over [Joseph] Conrad's grave Mr. Conrad would shortly appear.... I would leave for London tomorrow morning with a sausage grinder."

 

Howard Bloom on J.K. Rowling: "How to read Harry Potter and the Sorcerer's Stone? Why, very quickly, to begin with, perhaps also to make an end. Why read it? Presumably, if you cannot be persuaded to read anything better, Rowling will have to do."

 

Norman Mailer on Jack Kerouac:
"His rhythms are erratic, his sense of character is nil,
and he is as pretentious as a rich whore,

sentimental as a lollypop."

 

Dame Edith Sitwell on Virginia Woolf: "Virginia Woolf's writing is no more than glamorous knitting. I believe she must have a pattern somewhere."

Vladimir Nabokov on Ernest Hemingway: "I read him for the first time in the early Forties, something about bells, balls and bulls, and loathed it."

 

Gore Vidal on Truman Capote: He's a full-fledged housewife from Kansas with all the prejudices.

_________________________

Flannery O’Connor on Ayn Rand: 

"The fiction of Ayn Rand is as low as you can get… 
I hope you picked it up off the floor of the subway 
and threw it in the nearest garbage pail.
She makes Mickey Spillane look like Dostoevsky."

_________________________

 

Martin Amis on Miguel de Cervantes: "Reading Don Quixote can be compared to an indefinite visit from your most impossible senior relative, with all his pranks, dirty habits, unstoppable reminiscences, and terrible cronies." 

 

Gustave Flaubert on Honoré de Balzac: "What a man Balzac would have been if he had known how to write." 

 

Vladimir Nabokov on Joseph Conrad: "I cannot abide Conrad's souvenir shop style and bottled ships and shell necklaces of romanticist clichés."

 

Ruth Rendell on Agatha Christie: "To say that Agatha Christie's characters are cardboard cut-outs is an insult to cardboard cut-outs." 

 

William Faulkner on Mark Twain:
[A] hack writer who would not have been considered fourth rate in Europe,
who tricked out a few of the old proven 'sure fire' literary skeletons
with sufficient local color to intrigue the superficial and the lazy.

Tom Wolfe on Ernest Hemingway: "People always think that the reason he's easy to read is that he is concise. He isn't. I hate conciseness — it's too difficult. The reason Hemingway is easy to read is that he repeats himself all the time, using 'and' for padding."

Mary McCarthy on Lillian Hellman: "Every word she writes is a lie, including ‘and’ and ‘the.'" 

 

Gertrude Stein on Ezra Pound: "A village explainer. Excellent if you were a village, but if you were not, not."

H.G. Wells on George Bernard Shaw: “An idiot child screaming in a hospital.”

Well, that was brutal ... somebody grab a rag and start mopping up the blood.