5 Ways to Combat Design Fixation

Marketers who default to an old fix for a new problem are guilty of "design fixation."

It's one reason so much marketing looks copy-cat.

Design fixation—also known as the Einstellung Effect—refers to our tendency to rely blindly on old solutions, and insist our first idea is always the best.

Fortunately, novices are more susceptible to design fixation than old hands, studies show.

How can you free yourself?

Jami Oetting, writing for Hubspot, suggests five antidotes:

• Immerse yourself in new subjects. Escape your marketing bubble and reach for far-afield ideas. Learn a little about voles, snow-sports, fire protection, Washington Irving, and Czarist Russia.

• Work with others. Diversity in experiences, expertise and cultural background and can stimulate fresh thinking.

• Review previous solutions. Peer reviews will expose biases and flaws faster than anything. They force you to look at your ideas with iron-cold eyes.

• Analyze and brainstorm. Generating more ideas helps assure an innovative one will emerge.

• Test. Gather feedback from focus groups and A/B experiments.

Emissary of Humankind

Comparative Communist Political Systems was one of the more desultory courses I took in college.

The reading list was brutal, and I had to trudge many a dawn to the Library of Congress, because a lot of the stuff comprised unpublished papers by NATO diplomats.

But had I not elected the course, I might never have met the professor, Jan Karski.

Karski had been a young army lieutenant when the Soviets invaded his native Poland at the outbreak of World War II.

Captured near Ukraine, Karski managed to conceal his rank from his captors by swapping uniforms with a private. Uninterested in privates (they executed officers), the Soviets put Karski on a train bound west for Nazi territory; but he escaped, and made his way to Warsaw.

Before long, Karski joined Poland's Resistance, couriering dispatches to the country's government, exiled in Paris. On one trip, he was arrested by the Gestapo and tortured. Afraid he'd betray his fellows, Karski cut his own throat; but Nazi doctors stitched the wound before Karski bled to death. Members of the Resistance secreted him out of the hospital.

Karski immediately resumed his role as a courier. Ordered next to gather evidence of Nazi atrocities, he was twice smuggled by Jewish resistance fighters into the Warsaw Ghetto, to see first hand what was happening to its citizens. Karski witnessed Nazi soldiers hunt down and kill Jewish children for sport, and saw Jews herded into boxcars heading for the death camps. So sickened was he by the sights in the railroad yard, Karski vomited.

After his final mission in Poland, Karski was ordered to England and the US, to spread word of the Nazis' atrocities among the Allies. He met in 1943 with the British Foreign Secretary in London, and with President Franklin D. Roosevelt in the White House. Karski pleaded with both men to intervene. His stories were met with disbelief.

Undaunted, Karski wrote Story of a Secret State, published in 1944 as a Book of the Month Club selection. Over 400,000 copies were sold. Unable to sway their leaders, Karski helped open the eyes of Brits and Americans to the Holocaust.

After the war, Karski remained in the US, earned a doctorate, and joined the faculty of Georgetown University, where he taught for 40 years.

In 1994, Karski was made an honorary citizen of Israel, in recognition of his efforts on behalf Holocaust victims. He was also nominated for a Nobel Prize shortly before his death in 2000.

There are public memorials to him today in Washington, New York City, Warsaw, Lodz, Tel Aviv and elsewhere.

Hero by Mistake

"The real hero is always a hero by mistake," Umberto Eco said. "He dreams of being an honest coward like everybody else."

Medievalist Raymond Klibansky was one of those heroes.

A German Jew, Klibansky worked as a philosophy professor at the University of Heidelberg in the early 1930s.

He was an expert in Nicholas of Cusa, another German philosopher who, 500 years before, had fathered "modernism" by arguing that science is superior to superstition.

Nazi ideologues drove Klibansky to England, where he found other teaching jobs. When England declared war on Germany in 1939, Klibansky took a government job in intelligence.

He used his intelligence job to warn every British and American air force officer he could reach that there was a target inside Germany they must not bomb: St. Nicholas Hospital, in the town of Bernkastel-Kues.

The hospital had been founded by Nicholas of Cusa, and housed his 500-year-old manuscripts—irreplaceable codebooks to the medieval mind.

Thanks to Klibansky's pleas, the Allies spared the building.

When the philosopher visited the town after the armistice in 1945, Bernkastel-Kues' citizens threw a party and gave Klibansky a hero's welcome.

The philosopher moved to Canada the following year, where he taught at McGill for the next 30 years, and lived and wrote to the venerable age of 100.

Eschew Inkhorn Terms

Queen Elizabeth's confidant Thomas Wilson warned writers away from fancy words 450 years ago in his Art of Rhetoric.

Wilson paid no court to "clerks" who used "outlandish English."

He called their fandangles "inkhorn terms"—words only pedants prefer.

Wilson warned:

Among all other lessons this should first be learned, that we never affect any strange inkhorn terms, but to speak as is commonly received: neither seeking to be over-fine or yet living over-careless, using our speech as most men do.

Think you're immune from Wilson's law, because yours is a C-level audience?

Think again.

Inkhorn terms could cost you credibility, no matter how well-paid your audience, says copywriter Keith Lewis.

Convoluted copy backfires, Lewis says. 

"Far from making you or your company sound intelligent, it alienates audiences. It turns them off, no matter how high up the income chain a potential reader might be."

Want to be a Writer? There's a Catch.

In 1953, Joseph Heller was employed as a copywriter at Merrill Anderson when he imagined a novel that, eight years later, would appear as Catch 22.

"Working on Catch, I’d become furious and despondent that I could only write a page a night," Heller once told an interviewer. "I’d say to myself, ‘Christ, I’m a mature adult with a master’s degree in English, why can’t I work faster?'”

Moxie isn't always included among the copywriter's traits, though it should be. One page a night for eight years takes a lot of moxie.

Hubspot contributor Matthew Kane says copywriters must have nine other traits to be any good. They must be:

Top-notch researchers and interviewers. "Copywriters will need to pivot from client to client and sometimes industry to industry," Kane says. "As such, they’ll need to get up to speed—quickly." Interviews with experts add context to samples and reading materials.

Knowledgeable about audiences. "We try to write in the vernacular," David Ogilvy once said. Ads, ebooks, case studies and blog posts only work when the writer knows "what the intended audience thinks, speaks, and searches for," Kane says.

Thirsty to learn. A copywriter should thirst for knowledge—but not turn insatiable. "Copywriters know their goal should be to learn as much information about the product and the audience as possible to write effective copy—and nothing more."

Informed. "Bad copywriters often stuff their work with purple prose or other literary devices in an attempt to make some sort of high-minded art out of an innocuous project," Kane says. "Good copywriters, on the other hand, understand the modern world. They’re knowledgeable about how consumers skim and read, understand the importance of an attention-grabbing headline, can articulate the sales and marketing objectives, and know a thing or two about SEO and keyword optimization."

Thick-skinned. Rejecting feedback from others never works. "Good copywriters believe in their convictions but understand that they may not always be right."

Self-assured. Good copywriters can explain to critics why they took a particular approach and chose particular words.

Anti-perfectionist. “Art is never finished, only abandoned," da Vinci once said. "Good copywriters realize that the pursuit of perfection—while noble—is futile," Kanes says. "They know that they can go on tweaking forever, but understand that 'good enough' is exactly that."

Willing to seek help. Writing is a solitary pursuit. "As a result, many copywriters have the tendency to view themselves as a 'lone wolf,'” Kane says. But good copywriters seek out mentors, editors, teachers and advisors who will push them to do better work.

Always reading. "An exceptional copywriter is always aware of the latest industry trends," Kane says. "They cringe at coming across as out of touch."