This book, based on the author's conference presentation, takes a fresh approach to designing sites and interaction based on the stages of seduction. This beautifully-designed book follows its own principles of seduction and examines what motivates and causes people to act. Topics include ways to create playful engagements during the moment; how to put people at ease through sense-making, reassurance, and clear communication; ways to grab attention through language, visuals, and emotions; and how to continue motivating long after the first encounter. The author goes further and shows examples of how these technique have been applied with great success. Product Description
What happens when you've built a great website or app, but no one seems to care? How do you get people to stick around long enough to see how your service might be of value? In Seductive Interaction Design, speaker and author Stephen P. Anderson takes a fresh approach to designing sites and interactions based on the stages of seduction. This beautifully designed book examines what motivates people to act.
Topics include:
AESTHETICS, BEAUTY, AND BEHAVIOR: Why do striking visuals grab our attention? And how do emotions affect judgment and behavior?
PLAYFUL SEDUCTION: How do you create playful engagements during the moment? Why are serendipity, arousal, rewards, and other delights critical to a good experience?
THE SUBTLE ART OF SEDUCTION: How do you put people at ease through clear and suggestive language? What are some subtle ways to influence behavior and get people to move from intent to action?
THE GAME OF SEDUCTION: How do you continue motivating people long after the first encounter? Are there lessons to be gained from learning theories or game design?
Principles from psychology are found throughout the book, along with dozens of examples showing how these techniques have been applied with great success. In addition, each section includes interviews with influential web and interaction designers. Prologue . . . . . . . . . . . . . . . . . . . . . . . . xi
1 Why Seductive Interactions? . . . . . . . . . . . . . . . . . .1
LinkedIn and Profile Completeness . . . . . . . . . . . . . . . . . 2
Why seduction?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
The iLike story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Beyond usability . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
It's all about experiences . . . . . . . . . . . . . . . . . . . . . . 11
SECTION ONE
Aesthetics, Beauty, and Behavior
2 Why Aesthetics? . . . . . . . . . . . . . . . . . . . . . . . . .17
What's the connection? . . . . . . . . . . . . . . . . . . . . . . . 18
Why aesthetics? . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3 Are You Easily Understood? . . . . . . . . . . . . . . . . . .19
Gestalt Psychology and a drinking game . . . . . . . . . . . . . 20
4 Are You Attractive? . . . . . . . . . . . . . . . . . . . . . . .25
You remind me of. . . . . . . . . . . . . . . . . . . . . . . . . . 26
Can you trust me on this?. . . . . . . . . . . . . . . . . . . . . . 27
Perceptions of time . . . . . . . . . . . . . . . . . . . . . . . . . 29
Put it all together. . . . . . . . . . . . . . . . . . . . . . . . . . . 30
"Attractive things work better" . . . . . . . . . . . . . . . . . . . 30
Stitching it all together . . . . . . . . . . . . . . . . . . . . . . . 32
5 Who Do You Remind People Of? . . . . . . . . . . . . . . .35
Aesthetics, associations, and Apple . . . . . . . . . . . . . . . . 36
Advertising and coded iconic messages . . . . . . . . . . . . . . 37
Positive and Negative associations . . . . . . . . . . . . . . . . 38
Language and associations . . . . . . . . . . . . . . . . . . . . . 38
Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
6 When Aesthetics Aren't Attractive . . . . . . . . . . . . .43
Curious implication 1: The good, the bad, and the ugly. . . . . 43
Curious implication 2: When utility is beautiful. . . . . . . . . 44
Curious implication 3: Context and character . . . . . . . . . . 45
Curious implication 4: Is beauty subjective? . . . . . . . . . . . 45
Closing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
7 The Power of Faces . . . . . . . . . . . . . . . . . . . . . . . .49
Leaving your friends. . . . . . . . . . . . . . . . . . . . . . . . . 50
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
SECTION TWO
Playful Seduction
8 Are You Fun To Be Around? . . . . . . . . . . . . . . . . . .55
Use humor, when appropriate . . . . . . . . . . . . . . . . . . . 56
A Case for Humor: MailChimp . . . . . . . . . . . . . . . . . . . 57
Why bother making someone smile? . . . . . . . . . . . . . . . 60
9 Are You Unpredictable?. . . . . . . . . . . . . . . . . . . . .63
Mixing surprise with rewards . . . . . . . . . . . . . . . . . . . 64
Delighters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
My personal annual travel report . . . . . . . . . . . . . . . . . 68
10 Are You Stimulating? . . . . . . . . . . . . . . . . . . . . . .75
Will the real Dopplr logo please stand up? . . . . . . . . . . . . 77
11 Are You Mysterious?. . . . . . . . . . . . . . . . . . . . . . .79
Curious marketing. . . . . . . . . . . . . . . . . . . . . . . . . . 79
Venturing into the unknown. . . . . . . . . . . . . . . . . . . . 80
The information gap theory. . . . . . . . . . . . . . . . . . . . . 81
Business application? . . . . . . . . . . . . . . . . . . . . . . . . 82
Specific motivation. . . . . . . . . . . . . . . . . . . . . . . . . . 84
Now what? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
12 Can People Express Themselves Around You?. . . . . . .87
SECTION THREE
The Subtle Art of Seduction
13 Small First Steps . . . . . . . . . . . . . . . . . . . . . . . . .93
Shaping the path . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Making a commitment . . . . . . . . . . . . . . . . . . . . . . . 94
Sharing places . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Picking up items placed on hold . . . . . . . . . . . . . . . . . . 96
Completing a travel booking . . . . . . . . . . . . . . . . . . . . 97
Endowed progress effect . . . . . . . . . . . . . . . . . . . . . . 99
Sequencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Shaping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
14 Coming on Too Strong (and how not to!). . . . . . . . .105
Fewer options. . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Less text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Fun distractions . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Creating the illusion of less by hiding information . . . . . . .110
Hacking the visual system to make things simpler . . . . . . .111
Less to think about . . . . . . . . . . . . . . . . . . . . . . . . .112
15 Attracting Attention . . . . . . . . . . . . . . . . . . . . . 115
Contrast and characters. . . . . . . . . . . . . . . . . . . . . . .116
Shh! We're hoping no one notices . . . . . . . . . . . . . . . . .117
Did you see that?. . . . . . . . . . . . . . . . . . . . . . . . . . .118
16 The Path of Least Resistance . . . . . . . . . . . . . . . . 119
Default options. . . . . . . . . . . . . . . . . . . . . . . . . . . .119
The power of suggestion. . . . . . . . . . . . . . . . . . . . . . .120
Convenience and personalized recommendations. . . . . . . .122
Afraid to Let Go . . . . . . . . . . . . . . . . . . . . . . . . . . .126
17 The Influence of Words . . . . . . . . . . . . . . . . . . . . 131
Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
&n
What happens when you
What happens when you've built a great website or app, but no one seems to care? How do you get people to stick around long enough to see how your service might be of value? In Seductive Interaction Design, speaker and author Stephen P. Anderson takes a fresh approach to designing sites and interactions based on the stages of seduction. This beautifully designed book examines what motivates people to act.
Topics include:
AESTHETICS, BEAUTY, AND BEHAVIOR: Why do striking visuals grab our attention? And how do emotions affect judgment and behavior?
PLAYFUL SEDUCTION: How do you create playful engagements during the moment? Why are serendipity, arousal, rewards, and other delights critical to a good experience?
THE SUBTLE ART OF SEDUCTION: How do you put people at ease through clear and suggestive language? What are some subtle ways to influence behavior and get people to move from intent to action?
THE GAME OF SEDUCTION: How do you continue motivating people long after the first encounter? Are there lessons to be gained from learning theories or game design?
Principles from psychology are found throughout the book, along with dozens of examples showing how these techniques have been applied with great success. In addition, each section includes interviews with influential web and interaction designers. Prologue . . . . . . . . . . . . . . . . . . . . . . . . xi
1 Why Seductive Interactions? . . . . . . . . . . . . . . . . . .1
LinkedIn and Profile Completeness . . . . . . . . . . . . . . . . . 2
Why seduction?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
The iLike story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Beyond usability . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
It's all about experiences . . . . . . . . . . . . . . . . . . . . . . 11
SECTION ONE
Aesthetics, Beauty, and Behavior
2 Why Aesthetics? . . . . . . . . . . . . . . . . . . . . . . . . .17
What's the connection? . . . . . . . . . . . . . . . . . . . . . . . 18
Why aesthetics? . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3 Are You Easily Understood? . . . . . . . . . . . . . . . . . .19
Gestalt Psychology and a drinking game . . . . . . . . . . . . . 20
4 Are You Attractive? . . . . . . . . . . . . . . . . . . . . . . .25
You remind me of. . . . . . . . . . . . . . . . . . . . . . . . . . 26
Can you trust me on this?. . . . . . . . . . . . . . . . . . . . . . 27
Perceptions of time . . . . . . . . . . . . . . . . . . . . . . . . . 29
Put it all together. . . . . . . . . . . . . . . . . . . . . . . . . . . 30
"Attractive things work better" . . . . . . . . . . . . . . . . . . . 30
Stitching it all together . . . . . . . . . . . . . . . . . . . . . . . 32
5 Who Do You Remind People Of? . . . . . . . . . . . . . . .35
Aesthetics, associations, and Apple . . . . . . . . . . . . . . . . 36
Advertising and coded iconic messages . . . . . . . . . . . . . . 37
Positive and Negative associations . . . . . . . . . . . . . . . . 38
Language and associations . . . . . . . . . . . . . . . . . . . . . 38
Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
6 When Aesthetics Aren't Attractive . . . . . . . . . . . . .43
Curious implication 1: The good, the bad, and the ugly. . . . . 43
Curious implication 2: When utility is beautiful. . . . . . . . . 44
Curious implication 3: Context and character . . . . . . . . . . 45
Curious implication 4: Is beauty subjective? . . . . . . . . . . . 45
Closing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
7 The Power of Faces . . . . . . . . . . . . . . . . . . . . . . . .49
Leaving your friends. . . . . . . . . . . . . . . . . . . . . . . . . 50
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
SECTION TWO
Playful Seduction
8 Are You Fun To Be Around? . . . . . . . . . . . . . . . . . .55
Use humor, when appropriate . . . . . . . . . . . . . . . . . . . 56
A Case for Humor: MailChimp . . . . . . . . . . . . . . . . . . . 57
Why bother making someone smile? . . . . . . . . . . . . . . . 60
9 Are You Unpredictable?. . . . . . . . . . . . . . . . . . . . .63
Mixing surprise with rewards . . . . . . . . . . . . . . . . . . . 64
Delighters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
My personal annual travel report . . . . . . . . . . . . . . . . . 68
10 Are You Stimulating? . . . . . . . . . . . . . . . . . . . . . .75
Will the real Dopplr logo please stand up? . . . . . . . . . . . . 77
11 Are You Mysterious?. . . . . . . . . . . . . . . . . . . . . . .79
Curious marketing. . . . . . . . . . . . . . . . . . . . . . . . . . 79
Venturing into the unknown. . . . . . . . . . . . . . . . . . . . 80
The information gap theory. . . . . . . . . . . . . . . . . . . . . 81
Business application? . . . . . . . . . . . . . . . . . . . . . . . . 82
Specific motivation. . . . . . . . . . . . . . . . . . . . . . . . . . 84
Now what? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
12 Can People Express Themselves Around You?. . . . . . .87
SECTION THREE
The Subtle Art of Seduction
13 Small First Steps . . . . . . . . . . . . . . . . . . . . . . . . .93
Shaping the path . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Making a commitment . . . . . . . . . . . . . . . . . . . . . . . 94
Sharing places . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Picking up items placed on hold . . . . . . . . . . . . . . . . . . 96
Completing a travel booking . . . . . . . . . . . . . . . . . . . . 97
Endowed progress effect . . . . . . . . . . . . . . . . . . . . . . 99
Sequencing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Shaping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
14 Coming on Too Strong (and how not to!). . . . . . . . .105
Fewer options. . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Less text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Fun distractions . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Creating the illusion of less by hiding information . . . . . . .110
Hacking the visual system to make things simpler . . . . . . .111
Less to think about . . . . . . . . . . . . . . . . . . . . . . . . .112
15 Attracting Attention . . . . . . . . . . . . . . . . . . . . . 115
Contrast and characters. . . . . . . . . . . . . . . . . . . . . . .116
Shh! We're hoping no one notices . . . . . . . . . . . . . . . . .117
Did you see that?. . . . . . . . . . . . . . . . . . . . . . . . . . .118
16 The Path of Least Resistance . . . . . . . . . . . . . . . . 119
Default options. . . . . . . . . . . . . . . . . . . . . . . . . . . .119
The power of suggestion. . . . . . . . . . . . . . . . . . . . . . .120
Convenience and personalized recommendations. . . . . . . .122
Afraid to Let Go . . . . . . . . . . . . . . . . . . . . . . . . . . .126
17 The Influence of Words . . . . . . . . . . . . . . . . . . . . 131
Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
&n
What happens when you