Going the Distance: Four Ways to Build a Better Customer Loyalty Program for Your Brand

It’s easy enough for a customer to join your loyalty program, especially when you’re offering an incentive such as discounts. All your customer has to do is give out some basic information, and voila! They’re in the fold, a brand new loyalty member with your company. From there, it’s happily ever after. You offer the perks; they stand solidly by you, bringing you their continued business. Simple. Or is it? In reality, just how many of those customers are act ively participating in your loyalty program? Do you know? Sure, loyalty program memberships are on the rise according to market research company eMarketer, having jumped 25 percent in the space of just two years. However, that figure may be a bit misleading. The truth is that, while loyalty program sign-ups may be more numerous, active participation in such programs is actually in decline. At the time of the study, the average US household had memberships in 29 loyalty programs; yet consumers were only active in 12 of those. That’s just 41 percent. And even that meager figure represents a drop of 2 percentage points per year over each of the preceding four years, according to a study by loyalty-marketing research company COLLOQUY.

When discounts just aren’t enough

So what’s a brand to do? How can you make your loyalty program worth your customer’s while—as well as your own? After all, gaining a new loyalty member doesn’t mean much if your customer isn’t actively participating in your program. Consider this: Does your customer loyalty program offer members anything different from what your competitors are offering? Chances are your program includes discounts. That’s a given. And what customer doesn’t appreciate a good discount? But when every other company out there is providing this staple benefit in comparable amounts, it becomes less and less likely that customers will remain loyal to any one particular brand. Frankly, it’s all too easy for customers to get lost in a sea of loyalty member discounts. They’re everywhere. In fact, just under half of internet users perceive that all rewards programs are alike, according to a 2015 eMarketer survey. The key to success, then, is to differentiate your business from the crowd. If you can offer your customers something unique and valuable beyond the usual discount, chances are they’ll be more likely to stick with your brand. Here’s some inspiration from companies who get it.

Virgin: Reward more purchases with more benefits.

That’s not to say you need to get rid of discounts entirely. In fact, nothing could be further from the truth. Customers still love a good discount. The goal is to be creative in terms of the loyalty perks you offer. Take the Virgin Atlantic Flying Club, for example. As part of its loyalty program, the airline allows members to earn miles and tier points. Members are inducted at the Club Red tier, from which they can move up to Club Silver and then Club Gold. Here, it’s not just a discount. It’s status. And people respond to feeling important, elite. Still, even where the rewards themselves are concerned, Virgin is motivating loyalty customers with some pretty attractive offers. At the Club Red tier, members earn flight miles and receive discounts on rental cars, airport parking, hotels and holiday flights. But as members rise in tiers, they get even more. At the Club Silver tier, members earn 50 percent more points on flights, access to expedited check-in, and priority standby seating. And once they reach the top, Club Gold members receive double miles, priority boarding and access to exclusive clubhouses where they can get a drink or a massage before their flight. Now that’s some serious incentive to keep coming back for more. Discounts are still part of the equation – but they are designed with innovation and personal value in mind, elevating them to more than just savings.

Amazon Prime: Pay upfront and become a VIP.

What if your customers only had to pay a one-time upfront fee to get a year’s worth of substantial benefits? It may not sound like the smartest business idea at first glance. But take a closer look. Amazon Prime users pay a nominal $99 a year to gain free, two-day shipping on millions of products with no minimum purchase. And that’s just one benefit of going Prime. It’s true that Amazon loses $1-2 billion a year on Prime. This comes as no surprise given the incredible value the program offers. But get this: Amazon makes up for its losses in markedly higher transaction frequency. Specifically, Prime members spend an average of $1,500 a year on Amazon.com, compared with $625 spent by non-Prime users, a ccording to a 2015 report from Consumer Intelligence Research Partners.

Patagonia: Cater to customer values.

Sometimes, the draw for consumers isn’t saving money or getting a great deal. The eco-friendly outdoor clothing company Patagonia figured this out back in 2011, when it partnered with eBay to launch its Common Threads Initiative: a program that allows customers to resell their used Patagonia clothing via the company’s website. Why is this program important to customers? And how does it benefit Patagonia? The company’s brand embraces environmental and social responsibility, so it was only fitting that they create a platform for essentially recycling old clothing rather than merely throwing it away. The Common Threads Initiative helps Patagonia build a memorable brand and fierce loyalty by offering its customers a cause that aligns with deep personal values. OK, so their customers get to make a little money, too. Everybody wins.

American Airlines: Gamify your loyalty program.

If you’re going to offer your customers a loyalty program, why not make it f un? After all, engagement is key to building a strong relationship with your customer. And what better way to achieve that goal than making a game of it. American Airlines had this very thing in mind when it created its AAdvantage Passport Challenge following its merger with USAirways. The goal: find a new way to engage customers as big changes were underway. Using a custom Facebook application, American Airlines created a virtual passport to increase brand awareness while offering members a chance to earn bonus points. Customers earned these rewards through a variety of game-like activities, from answering trivia questions to tracking travel through a personalized dashboard. In the end, participants earned more than 70 percent more stamps than expected – and the airline saw a ROI of more than 500 percent. The takeaway: people like games.

Stand out from the crowd.

Your approach to your customer loyalty program should align with your overall marketing approach. Effective branding is about standing out, not blending it. Being memorable is key. To this end, keep in mind that loyalty programs are no longer a novelty. That means that yesterday’s strategies won’t work moving forward, so look for ways to rise above the noise, setting yourself apart from the cloying drone of countless other cookie-cutter programs.

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The Good, the Bad and How You Can Do It Better: An Analysis of 8 Great (And Not So Great) Landing Pages

In the world of business promotion and growth, landing pages have a singular purpose: to compel visitors to take a specific action that will further their engagement with your company.

Whether that action is registering for something (an event, an account, a newsletter, etc.), downloading something (a white paper, perhaps) or purchasing something, the goal is to persuade the visitor to complete that action and that action alone – not to tell them everything they could ever want to know about your company, its history and all it has to offer.

A good landing page makes it easy for visitors to understand what you want them to do and why they should do it while simultaneously keeping the process of taking that action streamlined and free of distractions and hassles.

A strong landing page is a critical component of any marketing campaign, whether offline or online. You've convinced someone to take their time to visit the page, so now you need to seal the deal by motivating them to take the next step. While this is no easy task, there are many ways to improve your odds of success.

One of the best ways to understand the dos and don’ts of landing page design is to see them in practice. Here we’ll examine eight very different landing pages and offer our analysis of what they’ve done right, what they’ve done wrong and how you can do it better.

UserTesting.com

The Good: The heading presents a direct, relevant sales message, and the subhead provides excellent support. The copy is clear and to-the-point while the video offer the opportunity for users to learn more without leaving the page.

The "Pricing and Signup" button is very prominent, so visitors know where they need to go next, while the mention of the one-year money-back guarantee provides an important trust-building element to motivate them to take that step.

The Bad: On this site, the landing page is the home page, which is a mistake because there are a number of distractions present that can draw visitors away from the path to conversion.

The navigation elements are too prominent, and the top search bar is completely unnecessary, only providing yet another element of disruption. The display image for the video is a bit cluttered as well.

How You Can Do it Better: When you have a very specific marketing or sales objective to achieve (again, think signing up for your newsletter, downloading free content, launching a new product, etc.), use a landing page.

Your home page needs to serve a diverse array of functions and users. A landing page allows you to provide a completely customized experience focused on helping a more targeted group of users reach one specific conversion point.

Team Treehouse

The Good: This landing page is clean, simple, focused and presents a clear pricing plan right off the bat. The navigation elements aren't so prominent that they distract, but they are definitely easy to find if a user wants to do more research. You know you're getting training videos, but the question remains...

The Bad: What kind of training videos? This landing page took simplicity so far to the extreme that it forgot to tell visitors what they're getting, even if they read all the text on the page. It’s impossible to understand what the offer is without leaving the page, which is a glaring oversight.

How You Can Do it Better: Minimalism is good but only when used within reason.

You must present enough information about your offer on the landing page itself for the user to feel confident in taking the next step. This requires good balance of content and design. It may also necessitate getting a bit creative in how you present your message. Often, a brief demonstration video can take the place of 1,000 words in providing more information about your product or service.

Windows Azure

The Good: Here's a fairly solid landing page. The design is minimalist, the call to action is easy to find and who doesn't like getting something for free?

The heading and description are clear and easy to understand. The superframework (where the logo and log-in links live) is sufficiently muted and out of the way. Overall, the layout is clean and makes it easy for the eye to navigate the page.

The Bad: The main navigation is messy and overly complex. There are two tiers with various buttons highlighted in light blue, which introduces and element of confusion and distraction in an otherwise very clean and streamlined design.

How You Can Do it Better: Navigation is a make-or-break element of every website design, and landing pages are no exception.

When it comes to your landing page, remember that the goal is to persuade the user to take one specific action. Focus on providing them with only the information they need in order to take that action without leaving the page if possible.

If more information is needed than will be effectively served by a single page, keep the navigation streamlined and limited only to those options that serve the landing page’s core purpose.

RightBanners!

The Good: The layout of the page is simple and easy to follow, and the navigation bar is tucked out of the way. The clear pricing structure gives users the critical information they need to know. Plus, the colors are engaging and exciting.

The Bad: The "Submit Your Order Now" heading reads like a button, but it isn't a button at all. Instead, the user must scroll down to create an order – a process that's quite confusing.

There are also too many different sizes of text on the page, which is a direct result of trying cram too much information into the banner area.

This page would work much more effectively if it were broken into a two-step process: a streamlined landing page leading the user to a second page where they could complete their order.

How You Can Do it Better: When it comes to user interface design, the devil is in the details. You must always consider the cues and conventions that users expect when interacting with a page and use those to your best advantage.

For example, navigational buttons are so commonplace that we tend to take them for granted, but they play an important role in your landing page.

Pairing call-to-action statements like “Submit Your Order Now” with a button that performs that specified action is a simple but effective way to provide a familiar interface cue that helps users understand the process that they’re engaging in.

When these things don’t work as expected – as in the example above – it creates confusion and uncertainty that can inhibit the user from taking the action you desire.

PSD2HTML

The Good: This is an excellent landing page. The call to action is clear, and the message is concise. Overall, it's easy to tell what you're getting and where to go next.

The Bad: The page is a bit cluttered, which leads the eye away from the primary point of focus.

How You Can Do it Better: As always, whitespace is your friend.

If the design is cramped, the page will seem visually intimidating to your user. By contrast, allowing the elements on the page room to breathe makes it easier for the user to draw distinctions between different types of information.

DealFuel.com

The Good: Deal Fuel pulls off the home page/landing page combo successfully because it's designed first and foremost to be a landing page.

The design is clever, and the value proposition is prominent. Navigation elements have been scaled way back to allow the header section where the call to action lives to take center stage. Pricing information is easy to find, and the layout of the page helps guide the visitor through the information presented in a logical order.

The Bad: The description paragraph is too long; it's just too much information to include in a call to action area.

Also, the color of the "Buy Now!" button should also be different than the brown used in the gas pump because it fades into the background.

How You Can Do it Better: Never underestimate the importance of color in website design. Color and contrast play a very important role in directing the user’s attention to key elements and establishing a hierarchy of information.

For example, on the DealFuel.com page, simply swapping the colors on the "Today's price" banner and the "Buy Now!" button would create better cohesiveness within the design and make the call to action button more prominent.

AppSumo

The Good: This is a unique landing page that offers a the user a chance to win a prize in exchange for giving the company their contact information.

The call to action button is impossible to miss, and the process draws you in because it's so easy to answer the (very obvious) question and fill out the form.

The Bad: The design is cluttered and the message is difficult to find right away. The heading says "Win the Top 40 Books...", but you don't know why or how immediately. The description that follows is difficult to read because there’s not enough contrast between the color of the text and the background.

Also, putting the books on the left side of the page (where the eye naturally goes first) is distracting. These should be positioned either to the right or below the call to action in this example.

It's also a mistake to offer a reward at such a superficial level of engagement. Users can provide their contact information and enter the contest without knowing anything about AppSumo or what they offer. The brand would be much better served if the page included even a short, single-line description of AppSumo's value proposition.

How You Can Do it Better: Before you create a landing page, you must clearly define the business growth objective that you want it to serve, and then you must decide how best that objective can be achieved in a way that delivers value for both your brand and your customers.

In the AppSumo example, the engagement between the visitor and the brand is fleeting and shallow. While AppSumo does gain the benefit of the user’s information, there’s nothing to qualify this user as a potential customer and no motivation for the user not to simply unsubscribe when they start receiving communication from a company that they still know nothing about.

While capturing a user’s contact information is a legitimate and useful business growth goal, it would be better achieved by offering the user something of greater value in return than simply a one-in-many-thousands chance of winning a prize.

Instead, think of a way to structure the exchange that promotes greater long-term engagement between your brand and this user, whether it’s a providing free white paper that showcases your expertise or offering a free trial of your services.

TemplateSOLD

The Good: The design is modern, and the colors are interesting and engaging. The bold, concise heading makes the purpose of the page very clear. Prices are displayed upfront, so there are no surprises when the user moves to the next step.

The Bad: What is the next step, exactly? There's no one clear call to action. Instead, there are a LOT of calls to action here that muddy the design. The page wants you both to "Signup Now" and to "Download" the themes. There are also a number of different prices displayed on the page, each of which acts as a call to action in its own right.

Last but far from least, there's a major conflict in messaging. While the bold text claims to sell $40,866 worth of themes for just $59.95, the fine print cites a 50 theme limit. This type of marketing gimmick only serves to create confusion and make potential buyers wary of what they're really getting into.

How You Can Do it Better: Whatever you do, never, ever use any kind of gimmick or trickery in your presentation. No matter what action you want your users to take, they’re not going to do it if you don’t first establish a foundation of trust.

Instead, go above and beyond in your efforts to reduce the user’s perceived risk for taking action. When possible, offer a money-back guarantee or free trial period. Make sure you address potential sales objections, and provide social proof to reinforce believability and trust.

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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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