Another Marketing Pitfall: How to Crush a Smashing Brand Name & Trademark

Last week we blogged about the dreaded D-Word and how some marketers unwittingly undermine trademark rights in a brand name by explaining that the name "describes" or is "descriptive" of the goods or services sold under the brand.

We also have blogged about the danger of "taking a suggestive name, mark, or tag-line, and using it descriptively in a sentence on labels, packaging, ad copy, or the internet," because doing so "unfortunately can move it to the left (and wrong) side of the line and render it merely descriptive." This particular marketing pitfall was illustrated by probing the Gatorade label last May.

Today, we continue the similar theme of common marketing pitfalls that can render an otherwise strong and suggestive mark merely descriptive, and weak, if protectable at all.

Icon Burger Development Company launched the Smash Burger franchise a couple of years ago, and it recently found its way to the Twin Cities. Great food and concept, by the way. The founders are really on to something here, but the marketing efforts have a few, let's say, trademark issues.

Smash Burger, at the outset, had the potential to be a strong and smashing (i.e., wonderful, impressive) brand with strong and inherently distinctive trademark rights. Indeed, the U.S. Trademark Office registered a number of different SmashBurger variants, each without a showing of acquired distinctiveness or secondary meaning, here, here, here, and here. It has even federally registered the word SMASH standing alone, and the tag-line: SMASH. SIZZLE. SAVOR.

                      

When your unique and valuable brand name is SMASH BURGER, and you want to own and continue to own rights in SMASH, and related SMASH marks, best not to use "smash" and "smashed" as words to describe the type or name the category of burgers you sell. For example, the website explains why people love SmashBurger: "Fresh, never frozen 100% Angus Beef smashed, seared and seasoned on the grill." As part of the SmashBurger story, it is told: "We start with 100% Angus Beef smashed, seared and seasoned on the grill . . . ." The homepage further reads: "Smash Burger is a great new burger place for a better burger made with 100 Angus Beef that is smashed, seared and seasoned on the grill."

Perhaps most devastating from a trademark perspective, the SmashBurger drink cups read: "Where SMASH means we literally smash 100% Angus beef at a high temperature to sear in all the juicy burger goodness":

                                                 

Sounds good, if you're dining, but ouch, if you're the patty, or perhaps a trademark type. It appears the Examining Attorney never combed the SmashBurger website, as many will do, in search of descriptiveness admissions that can and will be used against the brand owner and trademark applicant. It remains to be seen whether these issues are raised at some point in the future.

When marketers are tempted to use their brand name in a descriptive way, my suggestion is to consult a thesaurus in search of alternate terms to use in copy that share the same meaning as the branded and trademarked term. This helps avoid a trademark invalidity challenge by the Trademark Office or competitors. 

Would the effective marketing story be lost if words like "smacked," "pounded," "pressed," "crushed," or "slapped" were substituted for "smashed," and terms like "smack," "pound," "press," "crush," or "slap" were substituted for "smash" in the copy, leaving SMASH for use only as a trademark and brand name? I'm thinking that consumers will exercise a little imagination and still get the marketing point, without doing harm to the trademark.

What do you think?

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You Heard it Here First: Nashville is Brand Central Station!

File:Nashville panorama Kaldari 01.jpg

For the record, I love music, lots of different artists and musical styles: Bob Dylan to Aerosmith, Otis Redding to ElvisMontgomery Gentry to Santana, Climax Blues Band to Bill Withers, Jack Johnson to Jamey Johnson, Michael Jackson to Alan Jackson, James Taylor to Taylor Swift, Pink Floyd to Wallflowers, Pat Benatar to Pat Green, Glen Campbell to Stevie Wonder, Beatles to Terri Clark, Cat Stevens to B52'sCranberries to Trace Adkins, Eagles to Nickelback, Supertramp to Troggs, Dido to Donovan, Huey Lewis to Heidi Newfield, Madonna to Boz Scaggs, The Who to Keith Urban, Kellie Pickler to U2, War to Bangles, Lorie Line to Bob Seger, Frank Sinatra to Spyro Gyra, Men at Work to Fourplay, Rolling Stones to Tracy Chapman, Enya to Ray Charles, Police to Queen, Bee Gees to Kenny G, Sade to Steely Dan, Sugarland to Sugarloaf, Barry White to Howard Jones, George Michael to Counting Crows, among many, many, many others, and even Johann Pachelbel's Canon in D Major, by almost any orchestra.

OK, for any armchair musical psychiatrists out there, keep your thoughts to yourself, to the extent you can discern any common thread through each and every one of the above artists (besides my personal appreciation for each). Recognizing musical taste is a rather personal thing, I simply like to think "I know it when I hear it," it's kind of like my auditory version of former U.S. Supreme Court Justice Potter Stewart's famous visual test of obscenity, where he asserted "I know it when I see it."

Anyway, several years ago no country singers would have made the list above. In fact, I used to say that country was the only kind of music I couldn't enjoy, and I grew up in Iowa City, Iowa, smack dab in the middle of the heartland, of all places. Nowadays, rap and hip hop are probably the musical genres I can't seem to appreciate, unless the tune has a little twang or some y'all to it, e.g., Colt Ford style. One of the things that has drawn me to enjoying country music in recent years is the richness of multiple relevant brand mentions by so many different artists within the genre. Obviously, there is more too it than that for me, since I haven't been able to embrace hip hop, a genre with clearly way over-the-top brand references.

Now, being a trademark type, it didn't go unnoticed by me that much earlier artists in other genres have included brand mentions in their music lyrics from time to time (e.g., Elton John's "Chevy" reference in "Crocodile Rock"; Don Henly's "Wayfarers" reference in "Boys of Summer"; The Beatles' "Coca-Cola" reference in "Come Together"; The Beach Boys' "T-Bird" reference in "Fun, Fun, Fun"; and Jim Croce's "Continental" and "El Dorado" references in "Bad Bad Leroy Brown"), so the idea of including brands within music lyrics is not new and may not even have originated in the country music genre, but it seems to me that the writers and artists in Nashville have cranked the brand mentions up a couple of notches in recent years, to my great pleasure and enjoyment (assuming these brand mentions aren't paid placements).

Take, for example, the lyrics for Eric Church's "Love Your Love the Most," with a total of six brand references: three in one verse, and two in one line (FaulknerRedmanNascarGeorge StraitJack D, and Coke). By the way, do you think it is safe to assume that Mr. Church's "Jack D" reference is to Jack Daniels, and not some other lesser known "Jack D" whiskey like Jack Davis, or perhaps some obscure reference to Jack'd Up Java?

Seriously, examples of other country music artists employing multiple brand mentions in song lyrics include Jason Michael Carroll's three brand mentions in "Where I'm From" (Armani, Ford, and indirectly John Deere (green tractor reference), Craig Morgan's three brand mentions in "International Harvester" (International Harvester, 4-H, and FFA), Rodney Atkins' three brand mentions in "Watching You" (Happy Meal, Scooby-Doo, and Superman), and Craig Morgan's six brand mentions in "Redneck Yacht Club" (Johnson, Mercury, Evinrude, Astroturf, Bass Tracker, and Bayliner).

What does all this mean for trademark types, marketers, and brand owners? You'll have to stay tuned for Part II in this series on Brand Mentions in Music Lyrics.

In the meantime, any thoughts on what song contains the most different brand references, can you top six? 

Naming the Store Brand

         

Every Sunday I go through the circulars in the paper looking for new products. I usually spend a lot of time with the ads from the national drug store chains (Walgreens, CVS, and Rite Aid). Recently, I observed that each chain seems to have a radically different philosophy on store brand naming. And while this observation isn’t earth shattering, it exposes the marketing strategies (or lack thereof) of each chain.

For example, check out the allergy section. The big brand names like Benadryl®, Claritin® and Zyrtec® all have store brand/private label competition. Walgreens naming protocol for its store brand is pretty straightforward and seems to be designed to help a consumer find the Walgreens knockoff of the branded product. You can buy Wal-dryl, Wal-itin, and Wal-zyr, and the packaging is color coded to make it easier.  This is a very consistent strategy that is designed to make life easier for the consumer and also designed to build the “Wal-“ prefix as a brand.

          Non-Drowsy 24 Hour Allergy,Tablets          

                    

At CVS, you have to be a well-informed consumer or a doctor to get it right because CVS attempts to align symptoms with branding. For example, the CVS version of Benadryl is called Allergy, while the CVS version of Claritin is called Non-Drowsy Allergy Relief (non-drowsy being a key benefit of the active ingredient in Claritin), and the Zyrtec knockoff product is called Indoor/Outdoor Allergy Relief (Zyrtec is the only brand with indoor/outdoor allergy claims).

                                     

At Rite Aid, you almost have to be a pharmacist to get the right brand. The first branded product to go generic was Benadryl and Rite Aid called the knockoff Rite Aid Allergy Medication. When the next generation allergy drugs went generic, Rite Aid had to improvise and so now you need to know the active ingredient to get the right brand (Rite Aid Loratidine and Rite Aid Cetirizine for Claritin and Zyrtec respectively). 

How about gastrointestinal products? Looking at four big brands, Zantac®, Metamucil®, Pepto-Bismol®, and MiraLAX®, and their knockoff brands at the drug chains show inconsistency at all three chains:

Branded: Zantac; Metamucil; Pepto-Bismol; MiraLAX

Walgreens: Wal-Zan; Wal-Mucil; Soothe; SmoothLAX

CVS: Acid Reducer; Natural Fiber Laxative; Stomach Relief; PureLAX

Rite Aid: Acid Reducer; Natural Fiber; Pink Bismuth; Laxative

So what is going on here? Walgreens, which appeared to be building the “Wal-“ prefix as its store brand champion, seems to have abandoned that philosophy in some parts of the store. CVS, which had been focusing on product benefits, gets dragged down into generic category descriptors in gastrointestinals. And Rite Aid is all over the place.

Doesn’t anyone worry about having a consistent branding strategy for the store brand? It sure would make life easier for us confused consumers! Hey Walgreens, CVS and Rite Aid…do you need some naming help?

- Mark Prus, NameFlashSM

Lion's Tap Reaches "Mutually Beneficial" Settlement with McDonalds

A couple of hours ago Kare 11 News in Minneapolis reported "Lions Tap wins settlement with McDonalds."

Absolutely no details about the settlement were provided, so it's hard to understand how Kare 11 is able to pronounce this as a "win" for Lion's Tap over McDonalds, although it certainly plays into the seductive David and Goliath theme of the case. The attorney for Lion's Tap apparently is quoted as saying the parties reached a "mutually beneficial amicable resolution," and Kare 11 further reports that McDonalds did not "immediately return a phone message seeking a comment" today.

Perhaps even more troubling than the unsupported "win" characterization, is the repeated failure of the traditional media covering this story to get the facts straight -- facts easily discernible by reading the federal court complaint that is so often recited in the stories, but apparently very few actually have undertaken to read it. In case you're interested, here is another link to the actual complaint.

As we have documented before on DuetsBlog, Lion's Tap did not register the "Who's Your Patty" slogan until after McDonalds began use and only days before filing suit against McDonalds, and it did not register -- even in Minnesota -- four years ago, as repeatedly and incorrectly reported ad nauseam by the media.

In fairness, although local CBS affiliate WCCO also republished the significant error on the timing of Lion's Tap's Minnesota registration of the "Who's Your Patty" slogan, at least it didn't assume the settlement to be a "win" for the Tap: "Lion's Tap Settles With McD's Over Catchphrase."

Our coverage of this case is here (9/3/09), here (9/8/09), here (9/21/09), and here (10/17/09).

In case we have not heard the last word on this case, stay tuned, and we'll let you know more as we know more about this Lion's Tap "win" and "mutually beneficial" resolution.

UPDATE: Is the Star Tribune reading DuetsBlog? It appears so. A Google search shows the Star Tribune's original story title on the settlement was: "Lion's Tap wins trademark suit against McDonald's," but now the story is titled: "Lion's Tap settles trademark suit against McDonald's," with no mention of the Minnesota State registration.

Now we just need to get USAToday, NPR, Newstin, Daylife, and NewsSpider, on the bandwagon.

Kleenex® Not Wanting to Blow It: Some Steps to Avoid Trademark Genericide

This sponsored banner ad is currently appearing in AdAge's Daily News on-line newsletter:

How many boxes of tissue do you suppose this ad is responsible for selling?

If the answer is none, that is probably fine with Kimberly-Clark since the return on investment for this ad is measured quite differently, I'm sure, given how the frequently misused Kleenex® brand is currently enjoying the lofty status as one of The 100 Best Global Brands. No doubt, Kimberly-Clark would like to keep not only this annointed status, but even more basically, it would like to keep the status as a brand and protectable trademark intact too.

In all likelihood, trademark types are behind this kind of advertisement, or perhaps more properly termed, "public service announcement," and they also are probably behind the "brand tissue" phrase, closely following each use of the brand name Kleenex®. Both measures help emphasize to consumers that Kleenex® is a brand of tissue coming from a single unique source, not a type or category of tissue coming from a variety of different competing sources.

These kinds of precautions are important educational steps a trademark owner can take when a meaningful portion of the public may misuse the brand name as a generic term. They are designed to shape the public's proper use of the trademark, and, hopefully, prevent the trademark owner's ultimate fear: Genericide. Indeed, we previously noted Kimberly-Clark's success to date on this very subject:

[W]hen the public misuses a famous trademark as a generic term and the brand owner risks losing exclusive rights through changes in the common meaning of the term. Avoiding the risk of this happening is something Kimberly-Clark® knows more than a little about, I suspect. No doubt, the legal team at Kimberly-Clark® has done an impressive job of preventing the KLEENEX® brand from following former brands like ESCALATOR, TRAMPOLINE, and ZIPPER, to name a few, into the unpleasant graveyard of genericide.

In the end, however, trademark owner's efforts aside, the public will decide the issue of genericide, as we have discussed before:

Unlike the kind of trademark abandonment that automatically results from the single act of non-use of a trademark coupled with no intention at that time to resume use of the trademark, the kind of trademark abandonment that is also known as genericide, in contrast, results from a gradual change in the meaning of a trademark or brand to an unprotectable generic term. A change that shifts the meaning -- understood by a majority of the relevant consuming public -- from identifying, distinguishing and indicating a single source for a particular product or service to a designation that connotes no single source at all, but instead, an entire product or service category with multiple unrelated sources.

So long as the "majority of the relevant consuming public" (more than half) continue to understand Kleenex® as a brand, the exclusive trademark rights will remain intact.

If you read AdAge, congratulations, apparently we are part of the "relevant consuming public," or perhaps you are viewed as someone who has influence on how the "relevant consuming public" perceives the Kleenex® brand.

I hope I did my part here, now it's your turn.

Is Twitter® "Following" Kool-Aid®, Mickey Mouse®, and Spam®?

twitterrificDownload-Spam Logo-

What does Twitter have in common with Kool-Aid, Mickey Mouse, and Spam? Maybe nothing, at least yet, but I predict that it will soon, unless Twitter retains some talented PR help in a hurry. Why?

The Kool-Aid, Mickey Mouse, and Spam brands all have spawned secondary or alternate and negative non-trademark meanings that have become part of the English language, meanings in each case that lack positive brand associations, to say the least. If Twitter is not careful it will find itself "following" the likes of Kool-Aid, Mickey Mouse, and Spam, and be in the similar undesirable position of tolerating language changes that distract from their brands and favorable brand messages, to be left watching others make generic use of their brand names to communicate a variety of ideas and meanings that are neither flattering nor brand building.

Kool-Aid "is a brand of artificially-flavored drink mix owned by the Kraft Foods Company," coined by inventor Edwin Perkins as "Kool-Ade" back in 1927. After being correctly or incorrectly associated with the 1978 Jim Jones cult-driven mass suicide known as the Jonestown Massacre, Kool-Aid has spawned an additional and negative non-trademark meaning:

"The saying 'Do not drink the Kool-Aid' now commonly refers to the Jonestown tragedy, meaning 'Do not trust any group you find to be a little on the kooky side,' or 'Whatever they tell you, do not believe it too strongly.' Fox News commentator Bill O'Reilly is famous for using the term in this manner."

"Having 'drunk the Kool-Aid' also refers to being a strong or fervent believer in a particular philosophy or mission — wholeheartedly or blindly believing in its virtues." So, based on these alternate and negative meanings, blogs like www.dontdrinkthekoolaidblog.com exist. I suspect that these non-trademark meanings of Kool-Aid have frustrated more than a few Kraft brand managers, marketing types, and lawyers over the years.

Mickey Mouse, the creation of Walt Disney in 1928, has become a valuable brand and icon of The Walt Disney Company over the last several decades. However, there are also pejorative uses of the brand name that Disney apparently has learned to tolerate: "'Mickey Mouse' is a slang expression meaning small-time, amateurish or trivial. In the UK and Ireland, it also means poor quality or counterfeit." Mickey Mouse is also defined as informally meaning "useless, insignificant, or worthless," and "trivial or petty."

Spam is a well-known, probably famous, brand of canned and processed meat, owned by Minnesota-based Hormel Foods. It was the butt of jokes in a popular Monty Python sketch, first televised in 1970, and as a result, years later the Spam brand name (coined in 1937) acquired an alternate and negative meaning within the world of electronic communications, namely, junk, undesired, or unsolicited e-mail. Something most people with a computer and e-mail account despise. Probably the only types who don't despise this kind of spam are those who flood the world wide web with it and perhaps those who build businesses and software products to combat the serious problem of spam e-mail. This alternate and negative meaning of Spam is so prevalent that software manufacturers have developed their own brands containing the once single-meaning Spam brand name. For example, SPAMfighter is federally registered for "computer software for eliminating unsolicited commercial electronic mail."

Now, back to Twitter, and to what some call "Drinking the Twitter Kool-Aid."

A possible connection between these four brands (Twitter, Kool-Aid, Mickey Mouse, and Spam) came to me after watching a Kevin Spacey discussion on The Late Show with David Letterman, where Dave and the Academy Award-winning actor discussed Twitter for over four minutes, in which "K-Spa" starts the discussion by admitting that his "business partner" made him "drink the Kool-Aid," that is, Twitter Kool-Aid, implying that the use of Twitter is kooky, or at least promoted by kooks. After more than four minutes of discussing Twitter, and despite touting his "over 800,000 followers" on Twitter, a hilarious Spacey appeared unable to make a compelling case for the beneficial use of Twitter, leaving Letterman to end the conversation by stating, "You know what it reminds me of, oh yeah, a waste of time." Apparently, Dave had harsher words for Twitter back on April 24 when he referred to it as "stupid crap." Others have dubbed it "permission-based stalking."

It appears that Letterman is not the first to have come to the same conclusion about Twitter being "a waste of time." Others, including our own Dan Kelly, certainly have questioned time spent using Twitter. Indeed, a search on Google for "Twitter waste of time" is so popular that it appears as a ready-made search phrase option on Google after typing the character string "Twitter wa" -- and this search query actually yields 30,700,000 hits. The number one hit on Google using this search query agrees that it is, "unless you use it in a way that isn't." Given this growing negative dialogue, one has to wonder, will the public embrace a new meaning of Twitter, basically, a single word replacement for the clunkier three-word phrase "waste of time"? Instead of frittering one's time away, might you be accused of "twittering" your time away, even if you're no where near a computer, handheld device, or cellphone? Will these alternate and negative "time wasting" meanings begin to appear in dictionaries, opening the floodgates to additional undesired uses that may be difficult or impossible to control?

I submit that there are plenty of uses that the law is simply not prepared to stop. Knowing which are which is, of course, important. In addition, this is where the close collaboration of marketers, trademark types, and perhaps most importantly, PR gurus is necessary and critical, to help brand managers prevent their brands from spawning alternate and negative meanings that can distract from or undermine favorable brand development and management.

Just Verb It? Part III: Testing the "Slippery Slope" of Using Brands as Verbs

Although intellectual property lawyers of the Dr. No variety may not like to admit it -- I submit that, not all slippery slopes are created equal. While some slippery slope cautions might prevent a few bumps and bruises in traveling along a particular path (e.g., the one on the left below), I suspect far fewer slippery slope cautions actually prevent life-ending falls from perilous cliffs (e.g., the one on the right below), yet other man-made slippery slopes specifically are designed for fun and enjoyment -- not danger -- and have generated enormous sales over the years (e.g., WHAM-O's SLIP'N SLIDE brand products).

      

 

 

 

 

 

 

 

 

 

 

So, putting aside Professor Douglas Walton's teaching that the slippery slope argument is "often treated as a fallacy," it is worth asking what brand of slippery slope most accurately represents the risk associated with marketers using their brands and trademarks as verbs?

As discussed in Part I of my Just Verb It? series, many marketers love the idea of having their brands embraced as verbs, but many trademark lawyers totally forbid any "brandverbing," i.e., "mis-using" brands (adjectives) as verbs: "Why? To prevent brand names and trademarks from becoming generic names and part of the public domain for anyone to freely use, even competitors."

No doubt, genericide -- the ultimate fear of using brands as verbs -- equals certain trademark death, a horrible result from both marketing and legal perspectives; but, I submit it doesn't necessarily follow that brandverbing activities automatically result in trademark death or genericide. To be sure, far more than a single act of verbing a trademark or brand must occur before a majority of the relevant consuming public no longer sees the claimed trademark or brand as identifying and distinguishing certain products or services as coming from a single source. Given this, there must be an opportunity to engage in some thoughtful and creative level of brandverbing without committing trademark suicide, right?

Unlike the kind of trademark abandonment that automatically results from the single act of non-use of a trademark coupled with no intention at that time to resume use of the trademark, the kind of trademark abandonment that is also known as genericide, in contrast, results from a gradual change in the meaning of a trademark or brand to an unprotectable generic term. A change that shifts the meaning -- understood by a majority of the relevant consuming public -- from identifying, distinguishing and indicating a single source for a particular product or service to a designation that connotes no single source at all, but instead, an entire product or service category with multiple unrelated sources.

As discussed in Part II of my Just Verb It? series, significant companies like Microsoft, Culver's Restaurants, and Yahoo! have all used at least some of their brands as verbs, so I asked "what do these companies know or at least believe that others on the 'straight and narrow' don't know or at least believe?" Perhaps they appreciate that not all slippery slopes are created equal? On the other hand, Yahoo! appears to have erased the brandverbed Do You Yahoo!? bumper sticker that I highlighted was being sold on the Yahoo Company Store website only five weeks ago. Does this signal a desire by Yahoo! to rethink or attempt to erase its brandverbing history? If so, there is some more clean up or erasing needed as other brandverbed items remain for sale there, such as the Do You Yahoo!? pencil, selling for 85 cents, described this way: "Our signature slogan makes a great statement on the classic BIC® pencil." So, Yahoo!'s "signature slogan" consists of a brandverbed phrase. This shouldn't result in trademark suicide, but we'll see how long this item lasts.

The New York Times certainly considers the "verbing up" of brands to be a timely and hot topic, as evidenced in Noam Cohen's July 18 article entitled "The Power of the Brand as Verb," where he reports: "It once would have been unthinkable for a company like Microsoft to encourage people to use its (Bing) brand name so cavalierly. Businesses feared that if their product name became a verb, then it would lose its individual identity." (My previous discussion of Bing, here).

Going forward, will companies like Tivo continue to utilize the slippery slope argument to forbid any amount of brandverbing? Or will they soften these kinds of black/white statements?: "Trademarks are never verbs. It is never permissible to use any of our trademarks as verbs." How about Palm? Adobe?

Given the apparent marketing and business value associated with having brands embraced as verbs, I submit that creative trademark types and marketers can and should work together to find ways of mitigating the extreme risk of trademark genericide without bowing to the slippery slope argument that forbids any brandverbing whatsoever. 

Stay tuned for Part IV of the Just Verb It? series, and my concluding thoughts about how to avoid or mitigate the risk of trademark genericide without embracing the slippery slope and resorting to black and white prohibitions on any and all brandverbing activities.

The Title of Your Story

What’s the first thing you think about when you’re naming a company or a product? Securing a domain? Avoiding trademark conflict? Sounding different from your competitors?

All are important concerns. But I contend that the first thing you should think about is this:

A name is the title of your story.

Yes, you’re naming your company or your product. But what you’re really doing is putting a title on the story you’re telling investors, shareholders, customers, and employees.

If you’re smart and lucky, the name you choose will be the title of a great story. A best-seller. A legend. A tale told around the campfire for generations.

If you’re haphazard or confused or pretentious or timid, your name will end up on the equivalent of the remainders table at your local bookstore: piles of copies at 70 percent off.

You can have a great story that nobody wants to read because the title is pedestrian or perplexing or pompous.

Or you can create demand for your story by giving it a title that tells just enough without giving away the plot.

So before you do any internal namestorming or hire a name developer, spend some time thinking about the story your company or product needs to tell.

Thinking about “story” requires a shift away from what you focus on day to day. Your elevator pitch and your PowerPoint presentation may tell your investors and shareholders and customers about your product’s new features or your market niche or your global strategy. They are not your story. They are bits of information.

Here's what Annette Simmons, author of The Story Factor, says about this:

"People don't want more information. They are up to their eyeballs in information. They want faith—faith in you, your goals, your success, in the story you tell. ... Once people make your story their story, you have tapped into the powerful force of faith."

And here's what the great Russian writer Anton Chekhov said:

"Don't tell me the moon is shining; show me the glint of light on broken glass."

How do you find your story? By stripping away everything that isn’t story: your products, your process, your team of super-smart engineers. And by focusing instead on your master narrative.

Story is bigger than “who we are.” As the title of a story, Amazon doesn’t say “online seller of books, music, and everything else we can get our hands on.” On the top level of the story, it says “big, deep, and powerful.” On a less conscious level it says “amazing” (a close cognate), it says “on” (the final syllable), and it says “A to Z” (incorporated into the spelling). It even says “am” (first syllable), as in “I the customer am involved with this enterprise.”

Story is bigger that “what we do.” As the title of a story, Viagra doesn’t say “effective treatment for erectile disfunction.” It doesn’t say “sildenafil citranate.” It says “via—the way to get there”; it says “virile,” “vital,” “vitamin,” and “viva!”; it says “grow” (so close to “-gra”); it says “Niagara—ceaseless power”; it says “Agra—site of the Taj Mahal, that monument to love.” And it says “women will love it, too”—note the feminine “-a” ending.

Do you read all of those meanings into these names the first time you hear or read them—or even the twelfth? Of course you don’t. But because the meanings are so positive, their power accretes each time you hear the name or roll it around in your mouth. “Yes,” you think without quite knowing why. “I want some more of that.”

Can a strong name take the place of sound technology and a business plan and a smart management team and solid financing? Of course it can’t. But without a compelling story, you won’t engage your audience. And your name—the title of your story—is your first chance to do it.

Nancy Friedman, Chief Wordworker at Wordworking