The Cult of Personality (Part 2)

Recently Fame Foundry had the opportunity to talk with Eliza Metz, the "Violet" half of Lime & Violet. What began as a late-night conversation between friends led to a podcast for the yarn-obsessed that struck a chord with fellow fanatics. The secret to their success is equal parts serendipity and savvy, as they have carefully grown and nurtured their legion of dedicated followers into a full-fledged knitting empire. Below Eliza shares some of the lessons she's learned along the way. FAME FOUNDRY: Thank you for sharing this time with us. ELIZA METZ: My pleasure. Did someone mention an open bar? (kidding, kidding...) FAME FOUNDRY: You're known as Violet to your audience and most of the world. What's the origin of this name? ELIZA METZ: Lime & Violet was born from late-night hysteria, actually. Miss Lime and I were driving to a fiber festival in Colorado about nine hours or so from where we live. We'd left late, and were having a few way-way-way-too-much-coffee moments, since it was 2 a.m. and neither of us were very coherent. At one point, she misheard something I said, thinking I'd answered "lime and violet." The whole weekend, any time we didn't understand something, we'd just look at each other, say "lime-n-violet," and laugh at our own joke. We still do that even now. On the way home, I told her we should start a podcast. There were only two knitting-related podcasts at the time (versus the 100+ there are now), and after explaining what a podcast was, she agreed that it'd be a fun little project for our spare time. The name came from the inside joke, and since she really wanted to stay anonymous to avoid the crazies that proliferate on the Internet, we decided I'd be Violet and she could be Lime. We had no idea that neither of us would ever have spare time again, or that random strangers would know us better by our "anonymous" names than our real ones. (Not that that's a bad thing, either, really.) FAME FOUNDRY: So the podcast, which evolved into this massive business, was purely and spontaneously created out of your own interest in knitting and putting on a show for the fun of it? ELIZA METZ: Simplistically speaking, yes, that was the genesis of the thing. It's not to say we didn't have a plan, however. I'm one of those people who writes business plans for fun, so we had a pretty good idea before we ever put voice to mic where we wanted it to go. The problem, we found, was that we didn't dream big enough or fast enough, really. It took on a life of its own pretty quickly and started branching out pretty organically from there. But, yes. It was just for the fun of it at the time. FAME FOUNDRY: Sounds like you were expecting this from the beginning. ELIZA METZ: We were. I think we didn't know the whole extent of just how big it would be, or what it would spawn, but we knew it had the potential to be big. Or maybe we just didn't know how big "big" really was at the time, which is probably a good thing. If we'd known about all the work, we may have given up and decided to take up macrame instead. FAME FOUNDRY: What was the first sign that let you know this was big. ELIZA METZ: Oh, man. That's an easy one. A couple of months after we started the show, we had quite a few (we thought at the time) online "fans." The community was starting to form, and podcasts in general were becoming a bit more well-known in yarncrafting. It wasn't uncommon to get e-mails with offers of yarn or undying love, and we were okay with that. It was all kind of remote and surreal. Then one night we were in a local yarn shop in Nebraska, and a customer -- a complete stranger -- stopped her transaction and asked if I was Miss Violet. blinkblink She recognized me by my voice, which I hadn't really expected. So we made a huge joke about it all, started calling ourselves rock stars and carried well-publicized purple and green Sharpies in our purses so we could sign boobs at yarn stores. No, really. (And, yes, we've signed them.) FAME FOUNDRY: And thus began 'The Empire'? ELIZA METZ: Of a sort. There was a fair bit of work from there, but it was the first time we realized that we had a little bit of sway with the knitters, and it sort of drove home the fact that we had this fabulous base of customers who were listening to us, for sure. Empires aren't built in a day. FAME FOUNDRY: And the Empire seems to even refer to itself as 'The Empire." Quite a stunt there. ELIZA METZ: Of course it does. Luckily, we're benevolent rulers. FAME FOUNDRY: So everything -- the blog, the store -- evolved out of the podcast? ELIZA METZ: In a sense, yes. All of it sort of grew organically around the podcast's evolution. It's a little hard to explain, really. See, while a lot of the places that the podcast has grown into are completely random and unexpected (happy accidents, of a sort), we sort of knew where we wanted it to go from the beginning. We had this ridiculous business plan before we even put down the first tracks -- more of a wish list of activities than an actual business plan, per se. We had it structured so that growth would be based on the number of listeners because we truly thought that it would give us quite a bit of time to do things. At 100 listeners, we'd set up the message boards to let the fans talk to each other and start building a community. At 500 listeners, we'd start putting together the first knitting pattern book...that kind of thing. I remember writing down a milestone for 5,000 listeners and thinking that was just crazy, that we'd be waiting for YEARS before that ever happened. Three months later, we hit 5,000. I sat back, took a screenshot, sent it to Lime and told her that, perhaps, we should look into changing the structure of our business plan. Ahem. Duh, right? The problem, we found, was that we didn't dream big enough or fast enough, really.Not all of what we've done has been a part of the plan, since we had to scrap most of that pretty early on. We had a catastrophic lightning strike that took out our first book and the back-up copies thereof. Local hotels laughed at us when we approached them about doing a knitters' retreat on a full floor of a hotel (even though we had over 1,000 people who had filled out the form saying they'd come to our slumber party weekend). We tried partnering with various yarn/knitting-related companies for co-branded product support, but we found that contract law isn't quite our strong point and the brand started diluting a little. Lots and lots of learning experiences in that first year or so. If you want something done right, you need to do it yourself. So we started doing dyed sock yarns, which sprouted off into bath and body stuff when we talked a lot about the indie companies. The blog was just a way to pass on information to the listeners every day, since the volume of really fabulous projects and patterns and yarns coming into L&V Central was just too much to talk about on a weekly show. We keep learning all the time. It's one of the best things about the way we just dived right into this. Had we KNOWN the kind of work we were in for, we'd have turned tail and run, honestly. Our ignorance saved us from the get-go, really. The big lesson from the past year -- at least for me -- has been that narrowing the focus of what we're doing isn't nearly as counterproductive as I thought it'd be. We launched the Intention Yarn line, which has a very, very narrow focus (and, uh, intent), but it does 10 times better than our generic sock yarns did, largely because people know what they're about. They get the concept, so it's something they can buy not just to support their Lime & Violet addiction, but for a specific purpose of creation, and they seem to dig that. Same with things like the Neil Gaiman project, TheFatesThree.com -- which isn't just generic knitting patterns, but patterns all created with a theme around a particular author's works -- the narrowing-down process made the focus just that much more clear for both listeners and the occasional non-listener who stumbles upon it. There are other projects unrelated directly to Lime & Violet -- KnitLife, which is an oral history collection process that's just getting going, for instance. While it's not directly related to the show, I've got no illusions that being "known," so to speak, doesn't help promote the projects or get the word out there. Whether or not it's an obvious connection, the Empire doesn't just affect the success of the stuff we do -- it's the basis for it. FAME FOUNDRY: You share a lot of yourself with your audience and the community that has formed around the Lime & Violet brand. Where do you draw the line between your personal life and what you broadcast to the public? ELIZA METZ: There's supposed to be a line? (You can't see me right now, but trust me, I'm laughing relatively hysterically.) If someone has listened to every single show, they know more about me than my own mother. Before there was a Lime & Violet, there was me. And way back in the olden days of the Internet, when you used to have to do markup by notepad and ftp everything from a command line and design was largely a matter of tables with varying cellpaddings (and we rode dinosaurs to school both ways uphill in the snow...), I was one of those freaks with an online journal. (This is in the pre-Greymatter, pre-typepad, pre-blog days. Told ya it was in the prehistoric era.) I was one of the original 50 nutjobs who thought that their own lives, as mundane as they may be, were interesting enough to warrant putting it out there for the world to read. (And, incidentally, comment on. Good heavens, the e-mails...) Coming from this background and posessing of some kind of weird self-revelatory urge that's probably borderline pathological, I don't have a line most of the time. There are some things that we don't talk about much on the show, and we try to maintain the anonymity of the innocent (relatively speaking), but for the most part, if someone has listened to every single show, they know more about me than my own mother. I'm still not sure if that's a good thing or not. Contrast that with Miss Lime, who keeps a very strict bubble around her identity. No pictures of her are allowed on the site other than one that she swears looks nothing like her. Nobody knows her real name. For a while, we even kept it secret that we're in Omaha, though that slipped out through other channels. She's pretty convinced that the crazies would find her if they knew her name, and for that, I can't really blame her. The Crazy is pretty much everywhere on the Internet. FAME FOUNDRY: You mentioned the "crazies" on the Internet. What's the craziest encounter you've had with a an Internet fanatic? ELIZA METZ: I could tell you stories that would probably make Dateline NBC producers salivate. For the most part, we've found that knitters are a pretty sane bunch, with a few notable exceptions, but the combination of Internet anonymity and pseudofame still brings out the occasional whackjob. For instance, once we mentioned on the show that we love our fans. We love them so much that we'd love to invite them all over to my house for a great big slumber party. I mentioned that I have a guest room and a couple dogs that are quite fond of visitors, and I make a mean cookie. While intended to be kind of a joke, apparently I sounded serious enough that one girl found my real name, looked up my address and drove NINE HOURS to my house, where she got out of the car with four overnight bags (three of them were knitting projects-in-progress, I might add), and just expected to stay. Um. Oh-kay... She ended up staying three days. Great girl, but omg we never said anything like that again. Then there was the lady who didn't understand personal space and kept petting my hair. Or the one who named her babies after us. Or the one who, when we didn't write her back in an arbitrarily selected timeframe, made a WE HATE VIOLET website. I wish I was kidding. The Crazy. She is everywhere. FAME FOUNDRY: You're active on Twitter, Facebook and Plurk, though you use Plurk as your micro-updating site of choice. Why's that? When it comes to what we're trying to do -- building a community rather than just a following -- there needs to be interaction. ELIZA METZ: For me, it's a matter of connection. Twitter and Facebook and all the other myriad microblogging sites out there are all fine and good for most things, but it's largely one-way communication. You broadcast what you're doing to the world. Which, again, is all fine and good, if that's what you're looking to do. When it comes to what we're trying to do -- building a community rather than just a following -- there needs to be interaction. A conversation rather than just blindly telling people what you had for lunch. And Plurk has a format that depends on conversation and commentary to stay interesting, so people get involved. Once a fan is invested in a conversation, either with me or with the other followers, they feel like they're part of it. Instead of just reading ABOUT someone, they're talking WITH them. It's just a more human format to me, and it's the one I end up going back to over and over again as a result. FAME FOUNDRY: Art journaling is a big part of your life. How has this influenced your artistic approach online? ELIZA METZ: Through art journaling, I've found out a couple of big things about my own aesthetic. I really like handwritten things (more personal). I can have all the colors in the watercolor box, and I'll still end up with a white or mostly white background (which unclutters things for me visually). And white space keeps me sane. I don't claim to be any kind of techno-head web person who writes code in my sleep. In fact, I'm one of those freaks who still uses Notepad for most things. Call that a disclaimer from a semi-luddite here. That said, almost everything I put out there has a lot of that same, rustic, plain-looking, hand-hewn feel to it -- partially from just not knowing how else to do anything, and partially because that IS my approach. And if it works, I see no reason to fix what isn't broken. I'm just happy when there aren't broken links and people look at it now and again. FAME FOUNDRY: Thank you for sharing your vast experiences in building this empire you have. ELIZA METZ: And thank you for the interview. That'll be four goats and a skein of good cashmere, payable to the jester by the door. Elli Metz is the benevolent ruler of the Lime & Violet empire, which includes the independent republics of media, yarn, perfume and history. When she's not wearing her crown (which she often does), her job title is "starmaker," a fact that still amuses her.

 

 

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Prying the torch from the dead hands of old marketing

Today, there is freedom in marketing. No longer is the loudspeaker of the media controlled by a select few. As a result, so much more can be gained than ever before, all with fewer resources and less risk. The playing field has been officially leveled—and not a minute too soon.

Old Marketing is dead

Why? Our culture and means of information exchange have changed so much, so quickly from traditional conventions that have been used for so long. Today’s business must completely reshape and retool its approach to effectively market itself. The Old Marketing company—ingrained in these old systems for so long—simply cannot keep up with a culture that has transformed itselfBefore these drastic changes, our lifestyles and culture were based on a handful of media. Television, print, and radio were the anchors of mass information exchange and business promotion. If you owned a business or were charged with growing a company through marketing, then you were shackled to dealing with media and promotional entities such as television commercials, newspapers and the Yellow Pages. These industries are dying because they are being replaced by new systems. Remember the days of paying $2,500 a month for a lousy local, black and yellow ad in the Yellow Pages? Or tens of thousands of dollars for a local television ad, locked-in with a long-term contract and little measurables? That age is gone. The Old Marketing company—ingrained in these old systems for so long—simply cannot keep up with a culture that has transformed itself with the advent of the Internet and modern systems of communication. As a result, old, slow and expensive marketing companies are dying right along with those old systems. The ones that haven’t died yet are in a panic. They are scrambling to restructure business models, personnel, objectives and the sales pitches in order to reassure their clients that they now can pull off the new marketing ways.

The dirty little secret

In fact, this “scrambling to catch up” is a hushed truth among all marketing agencies. Marketing itself is not going to admit its own flaws in its business—that would be certain death. Agencies instead claim that they’ve been there all along. Nothing could be further from the truth. Need proof? This is easily evidenced by the marketing industry’s own publications and associations. Articles are rampant on how marketing agencies need to change to stay alive. On any given day there are a multitude of seminars for marketing firms to attend with subjects like, “leveraging web technology,” “selling SEO to your clients,” and “understanding social media,” as if these issues were still on the horizon waiting to be realized.

Marketing sold its soul long ago

The Internet may have been the axe, but it actually didn’t take the dynamic of the rule-changing Internet to bring the marketing industry to its knees. They sold out long ago. Marketing agencies have been on the gravy train for a very long time. This is what happens when media and information systems are few, with few in control. A few deals made here and there with the few controlling mass-media, local media, even the Yellow Pages—all with enough middle men in place to get their cut—eventually makes an industry so fat that it won’t forgo those systems, even when the walls are torn down. Bottom line: the money’s just too easy when you’ve got that kind of control. Marketing agencies employed tactics to pull clients in and lock them in. They knew the middle-men in all of the processes of print, television and radio. They knew who to kickback to. They even employ “media buyers”—a term that, as the years tick by, becomes more and more indicative of an era long gone. Can you believe a person—or even an entire department—employed in the position of “media buyer”? What were originally “creative agencies” became agencies only good at selling themselves to their clientsEven then, marketing's problems were deeper. What were originally “creative agencies” who served to shape, grow and represent the spirit of their clients brand, evolved into companies who simply became greedy—good at only selling themselves to their clients, but no longer about the work of their clients. Don’t believe me? Let’s talk about Leo Burnett. Leo Burnett Inc. is one of the most renowned agencies in the world. They earned their reputation serving one key philosophy: that nothing could replace the marketing firm’s charge of “being the spirit of the client’s brand.” Coupled with a firm understanding of what it took for each client to get and keep their customers, Leo Burnett was also known for the quality of their creative work and eventually earned the responsibility of brands like Kellogg's and McDonalds. Founder Leo Burnett recognized that the industry was in danger of selling its soul out long ago. One of his famous speeches, “When to Take My Name Off the Door”, delivered on December 1, 1967, was based on that very fear: He knew where the industry was going. And sure enough, it’s there—probably worse than he thought it could be.

What's the right way?

Traditional marketing companies identify that their own competition is no longer their peers in the same market, but the budding, New Marketing company that is web-based from the ground up. Why? They’re faster, smarter and more experienced in today’s systems. They also don’t have the burdens of expenses and bloat that Old Marketing firms have. They can turn on a dime. They move quickly. The New Marketing company that is web-based from the ground up is faster, smarter and more experienced in today’s systems.Today, successful marketing begins with the knowledge and experience to create exposure, build awareness, harness interest, and position business and all supporting systems within today’s web universe. Your marketing firm needs to understand why things work they way they do, and how people and prospects come to know and trust a brand in today’s world. Also, today’s New Marketing company is one that hasn’t forsaken the principles that are timeless, but is one that takes advantage of all that’s afforded in today’s business world to shave off unnecessary expenses.

• OUT: are deals with a select few in a position of control. IN: is the reality of true, choice-based media, entertainment and communications via the Internet and the technologies that are used by choice because they offer more and make better sense.
• OUT: are expensive payments to old, big, slow agencies—all carpet bombing to grow your business. IN: are fresh and nimble development firms who know how to surgically target the necessary areas to build a brand, position it and construct a network around today’s communication systems to promote and grow business.
• OUT: are paying for enormous overhead expenses in big buildings, expensive furniture, and lavish offices. IN: are virtual and hybrid marketing firms that work fast and don’t pass on the bloat of unnecessary expenses to their clients.
• OUT: are working through layers of costly production managers, account executives, supervisors and managers before you get to the real people that do the work. IN: is the successful marketing company that establishes access to key architects and creative producers who are integral in the ideas, concepts and the details essential for success.

So, as traditional marketing firms continue to pass on the overhead of their expensive offices, furniture, lifestyles and worst of all, the cost associated in how to figure out this "Internet thing," the New Marketing company has an inherent understanding of what works and what doesn’t in today’s culture. They are still marketers, founded in the purpose-driven goals of growing a business—however, the New Marketing firm, knows how today’s business is grown and built.

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