The Word of Mouth Manual: Volume II is the second book by Dave Balter, the CEO and founder of BzzAgent, a Boston-based word of mouth marketing company. While it’s not a how-to book of WOM, it is an exceptionally well-written book, employing humor and a number of excellent examples. Balter divides the book into three sections: What You Should Know (In Theory), What You Probably Know Already (Unless You Don’t), and What You Must Know (In Practice).

In the first section, Dave discusses the difference between “pure” WOM and what 99% of the rest of us have (”regular” WOM), including the 4 key features of pure WOM. He also explores the Top 40 phenomenon, including how a product gets on a person’s Top 40 list, how that list is altered, and how it comes into play in people’s daily lives. Using the horrid HeadOn commercials to illustrate his point, Dave talks about frequency, and the shift from mindless repetition to meaningful engagement on the part of consumers. There is also a bit on the Post-Purchase Effect, using the first-generation iPhone as an example, and a discussion about how WOM translates across cultures.

The second section makes a strong argument for the importance of human connection. I admit, I found the section a tiny bit biased (as one would expect, considering the book’s author and his “day job”), but that doesn’t make the points any less valid. Dave exposes some of the misconceptions WOM newbies have and mistakes they make, like untargeted samples, how to deal with “liars” in a WOM network, rewards vs. cash, and the concept that only losers have time to join a WOM network.

The most important point, and the focus of the last section, is that there are no shortcuts in WOM. Though he makes the point in the first section that good WOM cannot be deliberately created and controlled, the last section underlines the fact that WOM takes work. (Here, Dave contrasts the viral Numa Numa video and the resurgence of the Lacoste brand to illustrate this very effectively.)

There is a lot of talk in the book about how WOM is still considered to be an “unproven” method of advertising, compared to traditional methods, and the difficulty in proving its worth financially versus traditional media costs. (There’s a particularly funny story about one of “those people,” the ones who are just out to hate WOM, no matter what, in the second section. As Dave rightly calls it, how ironic that marketers, of all people, are calling out WOM as a con game. Have they taken a look at their “traditional” methods lately?)

I have a lot of respect for and curiosity about the work BzzAgent does – WOM is an aspect of advertising I haven’t been able to implement in my day job, but it is an area I thoroughly enjoy reading and learning about. Aside from this book being a fun, quick read, it peaked my interest by being a study in WOM itself. There’s some very interesting insight into how BzzAgent works, including how they subject themselves to the same standards and experiments they would employ for any client. This book’s BzzCampaign is part of that practice. Rather than being sold solely as a printed book, you can download the book as a PDF (for free) from a number of sources. (If you want, you can buy a hard copy of the book, too, don’t worry.) To download the book, go here. If you want to read a bit more about the book and the WOM campaign behind it, there’s an article on the Harvard Business Publishing website and another on the WOMMA website.

In the interest of full disclosure, I’ve been a BzzAgent since 2007. I reported this review as a BzzReport for the book’s campaign. If you want to learn more about how BzzAgent works and what BzzAgents actually do, visit www.bzzagent.com.

Erin Harris | Visual Communication Designer
erinmharris.com | BoDo Author | Erin Reviews

So, I think I’ve mentioned this before: I don’t like pink books for “girls”. They bother me. For one, I don’t like pink. Second, I’m not twelve. But I will forgive the Girl’s Guide chicks their magenta book cover both because it’s relatively tasteful in its design, and because the information inside it is so good.

The Girl’s Guide to Kicking Your Career Into Gear by Caitlin Friedman and Kimberly Yorio is an excellent collection of interviews, advice, and the authors’ personal experiences. The third book in their “Girl’s Guide” series focuses on your career as a whole, whereas the first two were about starting your own business and being a boss (respectively). They start out with a simple, but important, point: “If you’re not looking out for your career, then no one is.”

Chapters cover where you are now (“You Are Here”) and where you want to be, the “new girl’s network,” change and challenges, and “thinking big.” The section that I found the most helpful, however, was the one on fear. Aside from the usual advice about confronting difficult coworkers, Friedman and Yorio make the observation that owning your success is scary:

“To say the sentence ‘I am successful’ out loud is uncomfortable for most of us. There are several reasons why this is the case. As women, we have been raised never to boast, and downplaying our successes has become a comfortable way to connect with other people. … The key is for all of us is to define our own success.”

They go on to talk about their own experiences in writing their books, and how their decision to think positively and take control really changed their outlook, and attracted more good things to them. It sounds cheesy, but they explain it well, and it really makes sense. As they put it, “When you believe that you are surrounded by idiots and your boss just doesn’t understand how hard you work and that you should work somewhere else but can’t afford to leave your job — then you have accepted that your career is not under your control.” They also talk about gender stereotypes and how to work with them (and break some of them), and handling challenges at work and at home.

The book ends with Part Four, entitled “Think Big”. Part Four discusses the overall picture: what do you want? Is it the corner office? Flex time? A raise? It also talks about getting what you deserve by, oddly enough, asking for it. The section finishes up with a chapter on leadership and delegating (something that many women have a hard time doing). Susan Heathfield, a management consultant, shares her “12 C’s for Effective Team-Building,” and the Guide girls provide “Fifteen Things We Learned From Girls Taking Charge.” Since this book came out fairly recently (January 2008), the ladies are still off on their book tour, but they’ve got some good information on their website, www.girlsguidetobusiness.com, along with a (slightly neglected) blog and calendar.

Though there’s some useful stuff in this book for everyone, women are more likely to enjoy it (for obvious reasons). What I’m finding, though, is that the Girl’s Guides aren’t the stereotypical “grrl power!” pink books, and for that, I give them a lot of credit. It’s hard to strike a balance between good business advice and the specific difficulties women face, but these ladies do an admirable job.

Erin Harris | Visual Communication Designer
erinmharris.com | BoDo Author | Erin Reviews

I’m going to be totally honest with you guys. I love anyone who follows the Edward Tufte school of thought that PowerPoint is dumbing us down. Peggy Klaus didn’t reveal her allegiances until the very last chapter, but I’ll forgive her, since I enjoyed the rest of her book so much.

Peggy’s book, Brag! The Art of Tooting Your Own Horn Without Blowing It, should be required reading for designers, even though it’s not specifically targeted at us. Designers are notorious for despising self-promotion – I can list on one hand the designers I know who actually enjoy it. But here’s the thing: If we don’t promote ourselves, who’s going to do it? Peggy points out the obvious but increasingly important point that the workplace is no longer “safe.” Loyalty to a company in exchange for job security is going the way of the dinosaur. (Some would argue that it already has gone.) So we can’t just assume that the work we do is going to be enough to keep us employed or help us find our next job (or client).

The book is divided into sections: bragging myths; the “Take 12” self-evaluation; business bragging (including the infamous elevator speech and handling performance reviews); “techno-bragging”; converting job interviews into job offers; leveraging networking when you don’t have a “real” job; using your personal history to give yourself and your company credibility; “brag nags” (key communication techniques); and “12 Tooting Tips”.

One of the first things Peggy teaches her readers to do is to create “brag bites.” These are little snippets about you that stick – they are “authentic, compelling, and delivered in a conversational way.” For example, one of mine might be a favorite story that my mother likes to tell.

One Saturday morning when I was about 10, I took a card table, a piece of posterboard, and my little brother out to the front of our house, and sat down on our front steps. We were out there for a few hours, so finally, my mom came out to find out what we were doing (and why my brother was running after the occasional car that came down our street). She thought we were selling lemonade, but discovered that I was actually selling my handmade jewelry.

This little story is memorable, short, and shows off some great personality traits (creativity, determination, and enterprising spirit). But if I were to tell you that story in the context of conversation, say, over dinner, it’s unlikely you’d sit there and think, “Wow, this Erin chick is really full of herself!” And therein lies the secret. It’s all about presenting yourself in a way that lets people draw those great conclusions about you on their own, rather than you having to shout it from the rooftops yourself. (Because, really, that’s just annoying for everyone.)

Some of the most useful chapters in the book cover what Peggy calls “techno-bragging” and the workplace. With more and more people working off-site, or simply dealing with the deluge of emails and voicemails they get buried under every day, it can be hard to stay on your boss’s radar. Just “making the numbers” isn’t good enough. I found this one particularly relevant as a designer, because I think we often believe that the quality of our work shows off exactly how awesome we are. But the truth is, it doesn’t. We’re not always in jobs (or working with clients) where we get to do our most creative work. And even when we are, it is still sometimes a struggle to explain how our excellent design work brings value to our company (or client). So we have to make sure people know who we are, what we’re doing, and why it’s important to them. There are some great examples of how people have used technology to their advantage, keeping them on the radar of bosses and higher-ups (including one story about a guy who needed to not only make himself visible, but had to figure out how to deal with an attention-hogging coworker), as well as how to ace a performance review.

By far, my favorite thing comes at the very end of the book. Peggy tells the story of going to a conference she was invited to speak at, and receiving a nametag that listed her as “Peggy Klaus, Communications Expert.” She panicked at the sight of “expert” attached to her name, saying she felt like she couldn’t possibly be an expert, despite the fact that she was invited to speak at this conference! (She actually tried to scrape the word “expert” off her nametag with a butter knife. She only got as far as the T.) On some level, we all suffer from the Imposter Complex, regardless of how much we actually do know and have accomplished.

So go forth, BoDo readers, and find a copy of this book. (And read it. Don’t go using it to prop up your coffee table or filling in your bookshelf.)

Erin Harris | Visual Communication Designer
erinmharris.com | BoDo Author | Erin Reviews

Every morning, I get on the T (the subway, to you non-Bostonians out there) and go to my 9-to-5 gig. On my way, I see people walking their dogs, running, and just hanging out in Starbucks. And every morning, I wonder the same thing: Who are these people? What is it they do that lets them linger in a coffee shop at 10am, or sit in the Public Garden on a sunny summer day? And, more importantly, why am I not doing that?

My fellow New Jerseyan Kristen Fischer explores the world of “those people” in her book, Creatively Self-Employed. She has effectively learned to become one of “them.” Knowing someone my age has been able to free herself from the cubicle (without moving into a cozy cardboard box on the nearest corner) intrigued me.

Like many self-employed creatives, Kristen became her own boss out of necessity. She was frustrated with her jobs after college, and she was working part-time while freelance copywriting on the side. Her part-time job fell through and, despite not feeling ready, she forged ahead into full-time freelancing, continuing on her “path to freedom.” And, like many creatively self-employed people I know, she occasionally toys with the idea of going back to the 9-to-5 grind. Then she remembers how much she enjoys not waking up at dawn, sitting at Starbucks at 10am, and being her own boss, and the thought passes.

Kristen’s book is definitely not a how-to of departing the cubicle (for that, try Michelle Goodman’s The Anti 9-to-5 Guide, a.k.a., my last book review subject). She has interviewed all kinds of self-employed creatives – graphic designers, copywriters, and artists – who discuss the positives and the negatives of working for themselves. One particularly interesting benefit about self-employment that California artist Marisa Haedike mentions is the concept of job security. She says that 9-to-5’s only create an illusion of security. Workers can be fired at any point in time, which leaves them to the mercy of their employers, whereas self-employed people are always in business. She sums it up quite well: “The hardest thing [about creative self-employment] is trusting that even though you don’t know what’s coming next, it’s all working out for your best interest. Working a [9-to-5] job is really the same experience, you just have the illusion that you know what you will be doing tomorrow.”

The book is full of interviewee profiles, scattered throughout chapters such as “Facing Rejection,” “Trusting Yourself,” “Isolation,” and my personal favorite, the comforting “Going Crazy.” Perhaps I should have clarified my earlier statement – the book isn’t a how-to in terms of how to set up a business, but it is something of a support group for creatives. The interviews highlight the good and bad of working for yourself and discuss the not-strictly-business side of things. There’s something comforting about knowing “it’s not just me,” in terms of feeling rejected or scared, and dealing with the ups and downs of working on your own (and often, by yourself).

There are some practical bits at the end, though, for those of you who are worried this book is a little too touchy-feely for your taste. Kristen includes excellent tips on e-mail marketing, and a great list of business and marketing-related Internet resources, as well as an extensive reading list (some of which I’m sure will make it onto my reading list for future reviews).

For those of you considering fleeing the cube, I’d consider this book an excellent companion to The Anti 9-to-5 Guide. One helps you make a practical plan to get out, and the other helps you get an idea of what you’ll be facing once you actually are out.

Erin Harris | Visual Communication Designer
erinmharris.com | BoDo Author | Erin Reviews

If I were a less-than-diligent book reviewer, I would leave you with the following statement and call it a night:

If you are a 20-to-30-something female who dissatisfied with their job, go out and get this book NOW, NOW, NOW. Seriously. Stop looking at me like that. GO!

But since I’m a far more benevolent book reviewer than that, I shall elaborate.

Michelle Goodman has written a fantastically useful, friendly career advice specifically aimed at young women that does not involve ‘grrl power!’ references or feature a luridly pink cover. And as a member of her age demographic, I must say: It’s about time. Once you’ve left college, the romanticized stories about the new grads who took decidedly unglamorous jobs and then magically get promoted and their life is happy and wonderful (a la The Devil Wears Prada) are a bit tired. We know it CAN happen, but what we want now is to know HOW to make it happen.

Going from entry-level jobs to ones that we find rewarding, or simply ones that allow us time for our hobbies and outside interests, is a big deal, and something all cubicle monkeys dream of at some point during their dreary sentence. Unfortunately, most of the books written about ‘assessing your skills’ and ‘discovering your perfect career path’ are aimed either at people with significant experience and at a higher level on the corporate ladder or are filled with vague exercises. There are only so many times I can list all the things I’d love to do with my free time before I want to scream. It’s great that I have all these other passions and interests, but how can I start DOING that stuff instead of just dreaming about it, when my day job leaves me drained more often than not?

Goodman splits her book into two parts: how to make your move, and then how to ‘flee the cube’. The first section covers figuring out what you REALLY want to do, how to break into the industry you’ve been drooling over, and how to find time to do all those things you’d do ‘if only you had the time’. The second section discusses your options once you’ve figured out the first section: how to get a flexible work schedule, working from home (and still being productive), being your own boss, helping others, finding work that lets you travel, and acquiring jobs that will never have you tethered to a desk again.

Starting with the hard truth that having your finances in line will make your cube escape possible, Goodman takes it from the top, sharing her own experiences in a realistic conversational manner. She references additional readings throughout, includes Anti 9-to-5 Tips, and each chapter ends with an Anti 9-to-5 Action Plan. The Action Plans break down the chapter into manageable steps, allowing you to plot your departure from the cube farm and see your progress. She also includes a comprehensive list of further resources at the end of the book, covering books and websites about money management, business strategy, and legal aid.

This book is well worth the 2 or 3 lattes you’d have to give up to buy it. Get a copy, sit down with a paper and pen, and start hatching your battle plan!

You can also get tips and keep up with Michelle’s cubicle-free existence on her blog, The Anti 9-to-5 Guide.

until the next
Erin Reviews

Erin Harris | Designer
BoDo Author | Erin Reviews

“The conventional interpretation is that the amateur pursues his calling out of love, while the pro does it for money. … In my view, the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his “real” vocation. The professional loves it so much he dedicates his life to it.”–Steven Pressfield, screenwriter

Howard J. Blumenthal’s book, The Creative Professional: A Survival Guide for the Business World, is a must-read for anyone in any creative professional. Blumenthal starts off with the basics: what defines a “creative” professional, the rules of behavior in the marketplace, and the valuable assets of a creative professional. He also addresses the myths surrounding creatives, such as “creatives are disorganized”, “creatives are crazy”, and “you can’t learn creativity from a book”. He discusses personality traits and how they translate into the workplace, with specific references to the Myers-Briggs personality test, and how to use those traits to your advantage.

Blumenthal then goes on to talk about work styles, and includes a number of helpful exercises to help you determine how you work best. He talks about being a leader vs. being a specialist, and the difference between working for an employer and for clients. Blumenthal details the hiring process, including why you might not get hired full-time, and the positives and negatives of working for different size and types of companies.

The inherent distrust of creatives is discussed at length: business people don’t trust creatives; “creatives only care about creative work”; “creatives don’t follow business logic”. Blumenthal includes an excellent chart on traditional business thought vs. the creatives’ view.

From there, Blumenthal talks about managing your resources: time management, the creative process, getting past obstacles, how creatives think, and legal issues. He also discusses a creative’s career path: alternate paths, how to make changes when things aren’t going well, why the traditional job market doesn’t work for creatives, how to grow your career, determining what you really want to accomplish, and knowing when to move on. At the end, Blumenthal includes The Creative Bookshelf, a list of excellent resources.

The book is packed full of information and exercises, and needs at least a second read to begin to process all the fantastic information in it. Any creative, newbie to veteran, should have a copy of this book, and refer to it often.

until the next
Erin Reviews

Erin Harris | Designer
BoDo Author | Erin Reviews

Ellen Shapiro’s book, The Graphic Designer’s Guide to Clients: How to Make Clients Happy and Do Great Work, starts out making a very important distinction between graphic design and fine art. She says, “If we didn’t have clients, we wouldn’t be making fine art. We’d be out and about looking for clients.” She reminds us that designers are in the service business – our purpose is to brand products and services, give companies a personality, create emotional ties between businesses and consumers, and convey information.

Shapiro paints a vivid picture of every designers’ nightmare client: they keep you waiting but get mad when you’re late, they demand more work than is physically possible to do in their requested (and usually exceptionally short) timeframe, they don’t have their content ready when you need it, or insist on using a logo designed by their 12-year old nephew. But rather than get caught up in the negativity that can surround client relations, Shapiro discusses the difference between difficult good clients and difficult bad clients, highlighting four important things to consider when taking on clients:

• Will this client be a good fit for me and my business?
• What might this engagement lead to?
• Will it provide the opportunity to do work of the highest quality of which I am capable?
• If not, what is its potential value?”

From here, Shapiro goes on to discuss how to meet clients, including where to find them, whether those elaborate holiday promos actually work, and how to target potential clients in a way that makes you stand out from the pack. She also makes a specific point about having a clean, well designed website as a marketing tool.

Using updated interviews from past Communication Arts columns, Shapiro dives into client segments (corporate, retail and entertainment, and institutional). The interviews bring client situations to life, and share valuable insight from designers who have already been there.

until the next
Erin Reviews

Erin Harris | Designer
BoDo Author | Erin Reviews

If you’re thinking about starting a graphic design business, do yourself a favor. Put down whatever you’re doing and go get a copy of The Creative Business Guide to Running a Graphic Design Business by Cameron S. Foote. Then read it. If you can get through the entire thing and you still want to start your own design business, then congratulations, you’ll probably succeed!

Foote’s book is packed full of great information for anyone looking to start a design firm. He jumps right in with the different types of legal structures a firm can take, and the importance of writing a thorough business plan, and discusses a laundry list of issues that many don’t consider before starting up their business: working with accountants and lawyers, when to consider hiring more staff and how, and how to motivate your staff. Foote also touches on some of the less-than-pleasant situations that can arise: when and how to downsize and the effect it has on your existing employees, as well as what to do (and how to prevent) issues like an employee leaving with your clients or intellectual property theft.

Foote has an excellent section on whether it is better to be a specialty shop or not, how to price your work, how to qualify and work with clients. He goes into detail about dealing with client issues such as client incompetence, conflict of interest, spotting red flags, and how to get feedback about your studio from clients. He also includes a number of forms which are available for free at his website, Creative Business.

All in all, the book is well written and divided into logical sections that make it easy to find what you are looking for. The information covered is a bit daunting, and Foote doesn’t waste time with any feel-good fluff, but you’re a better designer for it, once you’ve finished the book. The issues he addresses are very real and can have a huge impact on your business. This is the stuff you don’t get taught in school, but that every designer should know.

until the next
Erin Reviews

Erin Harris | Designer
BoDo Author | Erin Reviews