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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Mythbusters: Website Edition

As a web designer, I routinely speak with business owners and marketing managers who are in the midst of a website redesign project for their company. During these conversations, I am always amazed by the myths about user experience and interface design that they mistakenly cling to. Many of these misconceptions are the by-product of previous website projects – leftover relics from an Internet of old. Others are more baffling, as their tenets are not now and never were true. So in the interest of championing the best practices and principles of modern website design, we’re channeling our inner myth busters and blowing the lid off five of these most persistent myths (dramatic explosions not included):

Myth #1: Visitors need/want instructions on how to use your site.

The Internet is no longer a new and unfamiliar medium, yet many companies still populate their websites with content that seems targeted to someone who has never actually navigated the Web before. When you include instructions for visitors about how to use to your website, you are adding a lot of extra words, which in most cases only serve to weigh down your pages with unnecessary visual clutter. In fact, the goal of any good design is to create an interface that is so intuitive that no instruction or explanation is necessary to help visitors move from one page to the next and complete routine processes such as making a purchase or signing up for an account. As a result, if you feel instructions are necessary, that inclination is a major red flag for serious design flaws that must be addressed in order to provide a quality experience for your user. To be fair, there are certainly instances where some level of guidance is needed. Complex interactions or applications that are truly unlike anything that has come before on the Web will require some level of training for your users, but the vast majority of websites do not fall into this category. If your site is, well, just a website (and there’s nothing wrong with that!), forego the instructions and have faith that your users are savvy enough to know and understand the well-established conventions of using the Internet.

Myth #2: These days, everyone has a high bandwidth connection.

Over the last few years, the average size of a webpage has doubled, largely due to our profuse use of images. Current design trends that call for giant, page-spanning photographs combined with the drive to deliver high-resolution images for retina displays mean that the file size of the images we are using continues to climb. Many people argue that this is acceptable because, as the size of our webpages grow, so does the bandwidth speed of our Internet connections. But is this really the case? It is true that the number of people with access to high bandwidth connections continues to increase, but the belief that all visitors have the benefit of a lightning-fast connection is nothing more than wishful thinking. There are still many areas of the country and the world that are shackled to the type of slower connections that are only a distant memory for many of us. Also, keep in mind as well that mobile visitors may be operating on a network that is either unreliable or has data download limits. In both of these instances, a website that is bloated with large content (i.e., giant videos, unoptimized images, etc.) will pose a problem. Ensuring that your website is optimized for performance is as important today as it has ever been, regardless of how fast connection speeds may be. After all, no one has ever said, “Wow, this website loaded TOO quickly for me!” Better performance and faster downloads improve the quality of experience for all users.

Myth #3: There may be some users visiting your site on a mobile device, but not that many.

Years ago – when the iPhone was still a novelty and everyone and their 12-year-old brother didn’t walk around with a smartphone in their pocket – this may have been the case. But today, visitors are accessing your website on a wide variety of devices with a range of different screen sizes. Examining the hundreds of websites that we manage reveals that an average of 30 percent of all traffic to those sites comes from mobile devices of one kind or another, and for some, it’s as high as 50 percent or more. This is consistent with the forecasts of industry analysts, who predict that by 2015 – that’s next year, folks! – the majority of all Web traffic will come from mobile devices. Additionally, not only are visitors accessing your site on mobile devices, but the same visitor is likely using multiple devices to access your content. We call this the “muti-device user”. As we covered previously in our article “Website Design for a Multi-Device World”: The multi-device world is populated by multi-device users. While a staggering variety of devices are, indeed, being used to access web content today, it’s also important to remember that the same user is often using multiple different devices to access your website – and they expect that site to work well regardless of which device they happen to be using at the time. Gone are the days of “mobile users” coming to your site only to locate your phone number or directions to your office. Today’s mobile users – and multi-device users – expect convenient, on-demand access to the same content that they can find on the desktop version of the site. Clinging to an outdated belief that “no one has a reason to visit my website on a mobile device” will quickly translate to “no one has a reason at all to visit my website at all.” Read more: Website Design for a Multi-Device World

Myth #4: You should open off-site links in a new tab/window.

This is the most common myth that I hear from clients, who insist that all links that lead to another site must open in a new tab or window. This request stems from a belief that if a visitor leaves your website to look at content somewhere else on the Web, they will never find their way back. By opening that link into a new tab, your website remains open in the user’s browser for them to return to at any time. Or at least, that’s how it works in theory. Unfortunately, I have seen this practice backfire on a number of occasions. Why would this be the case? Think of the Web as a linear experience. You move from one page to another and another. You can travel seamlessly to and from any point along  this timeline by using the browser’s back and forward buttons. But when you open a link in a new tab, you start a new timeline for the user. Having observed many website users over the years, I can tell you that the back button is a feature that they are intimately familiar with. If that user clicks a link and visits a new page, and they then want to return to your site, they will intuitively click the back button until they get there. However, if you’ve opened the off-site link in a new tab or window, then the back button eventually leads to a dead-end for that visitor. Your site, which they want to return to, is not part of their current timeline because it is open in a completely separate tab. Of course, all the user needs to do is close the current tab, and your site will be in front of them again, but I’ve seen many visitors who are unaware of or confused by this. Instead, when the linear experience of the back button doesn’t bring them to your site as they expected, they instead type your website’s URL into the browser’s address bar, thinking that something went wrong along the way. They now have two instances of your website open, so in your efforts to “help” them easily get back to your site, you’ve actually confused the user experience. Does this mean you should never open links in a new tab or window? No, it doesn’t. For example, it’s a good practice to open PDF files in a new tab because these documents feel like they are separate from the linear experience of browsing a site. Additionally, opening links in new tabs is not “wrong,” per se. It is an acceptable solution, but if you choose to use that approach, do so for a reason other than the mistaken belief that if visitors leave your site, they will never find their way back. The linear experience of web browsing – and using the back button to return to a webpage – is a well-understood convention, so don’t be afraid to let your visitors explore in the manner that is most natural to them.

Myth #5: Visitors absolutely will/absolutely will not complete a form.

The final myth we will debunk concerns web forms. Interestingly, I hear competing opinions from clients regarding forms on their websites. Some believe that visitors will not fill out a form no matter what. Others think that their users will gladly complete a lengthy questionnaire for almost no reason at all. As usual, the truth lies somewhere in the middle of these two extremes. Gathering information from website visitors is a valuable exercise. It allows you to understand who is coming to your site so you can follow up with them, engage with them and hopefully convert them into paying customers for your business. Just asking for visitor’s information is not enough, however. Very few people will be willing to complete a form unless they have a clear understanding of what they will receive in return – and what they receive needs to be of greater value to them than receiving more marketing from you. This value can come any number of different ways, such as receiving a free whitepaper or application download or registering for an event or webinar. In each of these cases, there is a legitimate reason for your site visitors to complete a form that gives you their personal information. If, however, your form simply says, “Sign up for updates!” without any further information about what those updates entail, how frequent they will be delivered or what potential value they hold, then there is a slim chance anyone will be inclined to complete that form. Creating a valuable offer is step one. Step two is the design of the form itself. Asking for too much information will be a roadblock for many visitors, who will either perceive a form with a large number of fields as being too cumbersome or too intrusive to complete, so the best course of action is to ask for only the information you need. If you never intend to call someone, then don’t ask for their phone number because that’s one less obstacle you’ll have to overcome. The more concise and easy your form is to complete, the more likely your visitors will do so. Website visitors will fill in forms, as long as you make those forms easy to complete and provide value to them in exchange for sharing their information with you.

R.I.P. myths and misconceptions

The Web and the behavior of its users are constantly evolving. Since the last time you engaged in a website redesign project, there have undoubtedly been a number of shifts in trends and tendencies, and what you learned through that experience even just two or three years ago may not be applicable today. Because of this ever-changing landscape, the importance of working with web development firm that keeps pace with these changes and the best practices of modern website design cannot be understated. Such a partnership will ensure that the decisions driving the the design of your site are relevant to today’s Web and are not relics of a time gone by.

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