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Creative Tactics From the Outside/In
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 Praise for Advertising Strategy
‘Where most business books limit themselves to text (my own included), Advertising
Strategy is packed with images and artifacts that chronicle the most fascinating inflection
points for some of the world’s greatest brands. Between the covers is a rich course in
business history of what happened, when, where, and why.”

Scott Bedbury, author of A New Brand World and

former Chief Marketing Officer for Starbucks

“This book strikes me as different and more accessible. It also SHOWS students how to
write for ads rather than preaching to them. It’s written in a casual, conversational style.
It makes it easy and inviting to read. Sounds like the authors are just talking to the
students. Geez, isn’t that what we tell them to do when writing copy?”

Sheri J. Broyles, University of North Texas

“This book really does a great job of showing and helping illustrate the importance of
creative strategy.”

Cynthia M. Frisby, University of Missouri—Columbia

“I wish I’d had this book when I got into the business. It drops you off right at the door.
Where you go from there depends on whether you get it or not. And, if you do, whether
you’ve got the talent and insight to add a few points of your own.”

John Melamed, Executive VP, Cramer Krasselt

“Will this book make a contribution? Definitely. The organization, included examples,
and tone of the work will make it especially attractive to advertising educators.”

Jason Chambers, University of Illinois at Urbana-Champaign

“It’s refreshing to read a book on advertising with insight and work from the industry’s
most talented. If you read this book and your portfolio still sucks, perhaps you should
read ‘How to Become a Plumber’.”

Tony Calcao, VP/Associate Creative Director, Crispin Porter + Bogusky

“Well written, entertaining, and informative. The examples provided good insight into
the ‘real world.’ It is a strong ‘how to’ book that can help empower students to actually
learn how to write copy.”

Sally J. McMillan, University of Tennessee

“Advertising Strategy by Tom Altstiel and Jean Grow is a comprehensive, considerate, and
motivational book that seeks to discover the muse behind creativity. The authors have
not only done their homework, they’ve done it astonishingly well. With meticulous
detail they dispel some of the myths rife within our business, and lay some secrets bare.
They now know more about what makes great advertising than most of us in the
business do. It’s 408 pages long. And I may actually read the whole darn thing.

Janet Champ, winner of 5 Kelly Awards for her

work on Nike women’s advertising for Wieden + Kennedy

“I find the approach of the text to be appropriately focused, businesslike and approach¬
able. The War Stories and Words of Wisdom are just about the right touch for advice
from on high.’ ... I especially appreciate its ‘more how/less why’ approach.

Greg Pabst, University of San Francisco

“I am a big fan of their ‘more how/less why’ approach. . . . You can tell the authors have
real-life experience, which is a plus. I think the Words of Wisdom are great. By the
nature of the layout of the book, the quotes are sure to be read, and there are some real
gems here. They match the tone of the book and contain worthwhile perspectives.”

Lara Zwarun, University of Texas at Arlington

4
V
|V v

“Basic concept approaches are very straightforward and provide students a much more
concrete place to begin than just ‘make an ad.’”

Kendra L. Gale, University of Colorado-Boulder

“I welcome a text that is informative, instructive, and a text with energy.”

Peggy J. Kreshel, University of Georgia

“I give a hearty ‘Concept approved!’ to the writers of Advertising Strategy, a thorough,

concise, honest, ‘tough-love’ guide to the businesses of advertising and marketing com¬
munications. An easy-to-follow and complete compendium of lessons for the person
who aspires to be in the creative seat, Advertising Strategy instructs as a textbook must,
without ever falling into the textbook category ‘boring.’ Instead, it inspires. With hun¬
dreds of visual examples and war stories from people on the inside of the business, it
teaches with relentless wit and candor, making one feel inside the sometimes goofy,
always stimulating world of advertising. I even found myself using the book as a means
of assessing work I’d already done, and hoping that I’d accomplished the goals and objec¬
tives it sets forth. If there were a Gold Pencil for textbooks, this would earn one.”

Charlotte Moore, former Co-Creative Director,

Wieden + Kennedy, Amsterdam
 \

Creative Tactics From the Outside/In

Tom Altstiel
Jean Grow
Marquette University

(^)SAGE Publications
Thousand Oaks ■ London ■ New Delhi
Copyright © 2006 by Sage Publications, Inc.

All rights reserved. No part of this book may be reproduced or utilized in any form or by any
means, electronic or mechanical, including photocopying, recording, or by any information
storage and retrieval system, without permission in writing from the publisher.

For information:

Sage Publications, Inc.

2455 Teller Road
Thousand Oaks, California 91320
E-mail: [email protected]

Sage Publications Ltd.

1 Olivers Yard
55 City Road
London EC1Y ISP
United Kingdom

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B-42, Panchsheel Enclave
Post Box 4109
New Delhi 110 017 India

Printed in the United States of America.

Library of Congress Cataloging-in-Publication Data

Altstiel, Tom.
Advertising strategy : creative tactics from the outside/in / Tom Altstiel, Jean Grow,
p. cm.
Includes bibliographical references and index.
ISBN 1-4129-1796-4 (pbk.)
1. Advertising. I. Grow, Jean. II. Title.
HF5823.A758 2006
659.1—dc22 2005012623

Acquisitions Editor: Margaret Seawell

Editorial Assistant: Sarah Quesenberry
Production Editor: Denise Santoyo
Designer: Gary Hespenheide
Typesetter: C&M Digitals (P) Ltd.
Indexer: Pam Van Huss
Cover Designer: Dan Augustine
 Contents

Preface xv

Why This Book? xv

Acknowledgments xvi
1. Copy and Creativity 1
Who Needs Copy (and the People Who Write It)? 1
The History of Creative Advertising
(Don’t Worry, It’s Not Long) 2
The Copywriter’s Role 3
The Creative Quarterback 3
So, What Else Does a Writer Do? 4
Controlling the Creative Process 3
Where Do I Go From Flere? 7
What’s in It for Me? 9
Knowing the Rules and When to Break Them 10
You Don’t Have to Be Crazy, but It Helps 11
Keeping It Legal. . . and Ethical 11
Good Taste, Good Sense, and Good Business 12
Legal Concepts That Really Matter 13
A Word about Awards 14
Before You Get Started 15
Advertising, MarCom, IMC, IBP, or What? 15
IBP (Integrated Brand Promotion) 17
Convergence 18
Advertising’s Role in the Marketing Process 18
Creative Strategy in the Marketing Mix 19
Theories, Schmeories 19
Left Brain/Right Brain/No Brain 20
The [Your Name Here] Creative Process 20
Assume the Position 20
Repositioning Your Product 21
Repositioning the Competition 21
Positioning Redux 21
Jumping on the Brand Wagon 23
Resonance: Did You Just Feel Something? 27
Writing From the Consumer’s Point of View 28
Sources of Information (Don’t Just Take Our Word for It) 30
Who’s Who? 32
2. Getting Started 35
Solving the Client’s Problem 35
Get the Facts 36
Where to Look for Information 36
Interpreting Research Findings 38
Who Is the Target Audience? 38
Outside/In the Product 39
Assembling the Facts 40
Copy Platform 41
Creative Brief 42
Consumer Profile 43
5b What? 45
Tone 45
Call to Action: What Do You Want Them to Do? 47
Putting It All Together 48
Who’s Who? 49

3. Issues in a Changing Marketplace 51

It’s All There In Black and White 53
Tapping into the African American Market 54
^Como Se Dice Diversity en Espanol? 55
Dtgdme Mas (Tell Me More) 56
Tapping into the Latino Market 56
Women in Advertising: Have We Really
Come a Long Way, Baby? 59
Maybe Women Really Are Different 60
Tapping into the Womens Market 62
Don’t Ask, Don’t Tell, Just Sell 62
Tapping into the Gay/Lesbian Market 63
You’re Never Too Old to Buy Something 65
Tapping into the Mature Market 66
It’s a Global World 67
Tapping into Global Audiences 68
Did We Miss Anyone? You’d Better Believe It 70
It’s Also About the People Who Make the Ads 72
Who’s Who? 72

4. Concepting (What’s the Big Idea?) 77

How to Be Creative (Concepting Strategies) 77
Working Backward: There’s Got to Be a
Strategy in There Somewhere 78
Concepting by the Book 78
Concepting Approaches 79
Show the Product 79
Show the Benefit 79
Show the Alternative 81
Comparison 81
Borrowed Interest 84
Testimonials!Case Histories 84
The Concepting Process 86
Say It Straight, Then Say It Great 86
Brainstorming 86
Idea Starters 87
Ten Tips for Better Concepts 87
Concept Testing 89
Self-Evaluation 89
Creative Director!Account
Executive Evaluation 90
Client Evaluation 90
Do the Twist 90
Finding the Edge 92
How to Give Your Ads an Edge 93
What to Do When You’re Stuck 93
Who’s Who? 96

Design for Writers 99

Why Writers Need to be Designers Too 99
Don’t Throw Your Pencils Away 100
Basic Design Principles 100
Proximity 101
Alignment 102
Balance 103
Unity 104
How to Develop Better Layouts 106
Typography 106
Styles of Type 108
Placement 108
Making Type Look Better 110
Color 112
Color Considerations 112
Layout Basics 114
Layout Patterns 115
Building Your Layout 119
Edges 119
Blocks and Shapes 120
Copy as Graphic 120
The Design Process 120
Selecting Your Visuals 120
More Visual, Less Copy 123
Illustration versus Photography 123
Finding Your Visuals 125
Design and Campaign Continuity 126
Putting It All Together 128
Who’s Who? 129

Campaigns 131
Campaigns and IMC 132
Campaign Components 132
 How to Enhance Continuity 133
Continuity Does Not Mean Conformity 133
How to Maximize Extendibility
and Repeatability 137
Knowing the Audience Is Job One
for Good Campaign Strategy 140
NSAC: Like the Real Thing Only More Fun 141
Putting It All Together 142
Campaign Tips 145
Who’s Who? 147

7. Headlines and Taglines 149

Why Have a Headline? 149
Types of Headlines 151
How to Write More Effective Headlines 154
The “Magic Words” 154
Proven Styles of Headlines 154
\ Using the Creative Tree for Headlines 155
Writing Headlines with Style 158
Ineffective Headlines 160
Evaluating Headlines 161
Subheads 163
Subhead Traps 163
Preheads 164
Taglines 165
Why Have a Tagline? 166
How to Write More Effective Taglines 167
The Creative Tree for Taglines 169
Taglines Need Your Support 171
Who’s Who? 172

8. Body Copy 173

Who Needs Body Copy? 173
You Never Know When You’ll Need It 173
Ads Aren’t the Only Place You’ll Need Copy 173
What You Need to Know . . . and Use 174
Why Do We Need Copy in Ads? 174
The Case for Long Copy 175
The Story Continues ... on the Web 177
Writing Structure 178
Types of Copy 178
Copy Format 179
Writing Style 181
Advertising Is Not English 181
Persuade, Don’t Impress 183
The “Seven Deadly Sins” of Copywriting 183
Power Writing 186
Checklist for Better Copy 189
You’re Not Done Yet 190
Who’s Who? 191
Print 195
Magazines 195
Why Magazines? 195
Why Not? 196
Types of Magazines 197
Consumer 197
Business 197
Professional Journals 197
Agricultural 197
In-House/Specialty 198
Magazine Ad Formats 200
Creative and Media Teamwork 201
Magazines and Campaigns 202
Where to Find the Best Magazine Ads 204
How to Win a Kelly 204
Newspapers 205
Why Newspapers? 206
Why Not? 206
Newspaper Readership Trends 206
Newspaper Advertising Defined 207
Categories 207
Types of Newspaper Advertising 207
Newspaper Ad Formats 208
Retail Advertising 208
Retail Buzzwords 209
National Newspaper Ads 210
National Inserts 211
Newspapers and Campaigns 211
Making Your Newspaper Ads Work Better 214
Where to Find the Best Newspaper Ads 214
Who’s Who? 214

Out-of-Home 217
Why Out-of-Home? 217
Why Not? 218
Posters and Bulletins (aka Billboards) 218
Transit 220
Inside Bus Cards 220
Transit Shelters 221
Bus Panels and Murals 221
Wall Murals 222
Posters 223
Out-of-Home and Campaigns 224
Where to Find the Best Out-of-Home Ads 225
Tips and Techniques 226
Who’s Who? 227

Direct Mail 229

Why Direct Mail? 230
Why Not? 231
 Database Marketing 231
Where to Get Information to Build Your Database 232
Types of Direct Mail 232
Envelope Mailers (Letter Package) 233
Flat Self-Mailers 233
Dimensional Mailers 236
Internet Direct Mail 238
Direct Mail and Campaigns 239
Repeatability with Multiple Mailings 239
Extendibility with Integration in a Campaign 241
Tips and Techniques 242
The Fine Art of Writing a Cover Letter 243
Using Gadgets 244
Business-to-Business Direct Mail Ls Different 245
Testing Is Necessary, but Make Sure You Know
What You’re Measuring 245
Where to Find the Best Direct Mail Advertising 246
Who’s Who? 247

12. Radio 249

Why Radio? 249

Why Not? 250
Creative Challenges and Opportunities 251
Terminology and Classifications 251
Format 251
Types of Commercials by Production 252
Styles of Commercials 253
Creative Techniques for Radio Commercials 253
Production Considerations 256
Production and Media Costs 256
It Takes Talent to Cast Talent 258
Timing Is Everything 259
Is This Funny? (Comedy in Commercials) 259
Comedic Formulas 262
Types of Comedic Devices 264
Comedy Checklist 264
Do You Really Think This Is Funny? 264
A Word or Two About Dialogue 265
Problem: Consumers Become Salespeople 265
Problem: Stilted Language 265
Problem: Gaps in Conversation 266 '
Give Me a Jingle 267
Tips and Techniques 267
Tip for Novice Writers: Don’t Write Like One 269
Radio and Campaigns 270
Where to Find the Best Radio Commercials 270
Who’s Who? 271
13. Television 273

Why Television? 274

Why Not? 274
Creative Challenges and
Opportunities for Beginning Writers 275
How to Solve Those Special Problems 275
Technology and Trends That Affect the Creative Process 276
Television Commercial Directions and Terms 277
How to Show Your Concept 278
Script 278
Storyboard 279
Key Frame 280
Scenario 280
Production Considerations 281
Why TV Is So Expensive 281
Shot Selection 282
Talent Can Make a Commercial or Break the Bank 282
Transitions between Scenes 283
Ways to Cut Costs 284
Styles of Commercials 284
Slice of Life (Problem/Solution) 284
Demonstration 284
Spokesperson (Testimonial) 285
Story Line 288
Vignettes 288
Musical 288
Creative Techniques for TV Commercials 288
The MTV Influence 288
Other Trends in Commercial Concepts 289
Humor in TV 289
Tips and Techniques 292
TV and Global Campaigns 293
Political Commercials: TV Advertising at Its Best and Worst 293
Checklist for Your TV Commercial 295
Presenting Your TV 296
Where to Find the Best TV Commercials 296
Who’s Who? 297

14. Internet 299

Why the Internet? 300
Why Not? 300
What Happens 10 Years From Now? 301
Terminology 301
Web Site Design 302
Planning 303
Designing the Site 303
Static or Active? 304
 Writing the Content 305
Programming the Site 306
Personal Portals 307
Online Branding 308
Internet Advertising 310
Banner Ads 310
Rich-Media Banners 310
Interstitial Ads 312
Out-of-Banner Ads 314
Digital Coupons 315
Sponsorships 316
Pay-per- Click/Pay-per-Sale 316
Paid Ads in E-Mail Newsletters 316
Those Annoying Pop- Ups 316
Tips and Techniques 317
Other Online Marketing Communication 317
Search Engine Marketing 317
„ Buying Keywords 318
- Paid Listing in Portal Sites 318
Permission-Based Marketing 318
Rich Mail 319
Opt-in E-Mail Ads 319
Weblogs (Blogs) 319
Promoting the Web Site 320
Where to Find the Best Online Marketing 321

15. Promotions and Point of Purchase 323

Why Sales Promotion? 324
Why Not? 324
Types of Sales Promotions 325
Consumer Sales Promotions 325
Trade Sales Promotions 328
Promotional Strategy and Tactics 329
Components of the Promotion 331
Tips and Techniques for Promotion 332
Point of Sale/Point of Purchase 333
Types of POP 333
Tips and Techniques for POP 333
Promotional Public Relations 333
Good Deeds Get Good Press, Even If You Have to Buy It 333
Event Marketing and Sponsorships 334 .
Promotion in IMC 336
Guerrilla Marketing 337
Who’s Who? 338

16. Business-to-Business 341

Why B2B Is Different 342
Why B2B Is the Same 342
Don’t Forget Those Wants and Needs 344
Agricultural Advertising: It’s Another Animal 345
Business-to-Business and Campaigns 345
 Collateral 347
“Nontraditional” Has Gone Mainstream 349
Internet for Business 349
Interactive 351
Business Broadcast 352
Business Video 352
Other Business IMC Opportunities 352
Where to Find the Best B2B Advertising 352
Who’s Who? 353

17. Selling It 355

Presentations 355
The New-Business Pitch 356
When Presenting as a Team 357
Distinctive Presentations 357
Handling Q&A 358
How You Answer Is Just as Important as What You Say 358
Thinking on Your Feet 358
Anticipate Questions 359
Final Words 359
Avoiding Death by PowerPoint (or Flash) 360

Appendix 365

Copy Platform (Creative Strategy Statement) 365

Copyediting and Proofreading Symbols 367
Additional Radio Terms 368
Additional Television Terms 369
What Agencies Are Looking for in an Entry-Level Copywriter 373
What Happens When You Obey All the “Rules” 374
The Whole Book in One Page 375

Index 377

About the Authors 389

 ■S

\ .
•

v*
 Preface

Why This Book?

Finding that one text that educates and motivates students is the holy grail of
advertising instructors, especially in the creative field. Many books cover theories
and principles, but not much about how to create an ad. Others feature great
examples that are helpful for illustrating the state of the industry ten years ago
but hold little relevance for today’s students. Still others provide a wealth of
anecdotes by the giants of our industry, but very little advice that applies to the
struggling novice. So, after searching for the perfect book, we decided to write
one, knowing full well it will never be just right. Even for us.
The subtitle of this book comes from the 2003 Marquette university team
in the National Student Advertising Competition. Their “Outside/In” campaign
hit all the right buttons for creative strategy and tactics. Outside/in also describes
our approach to teaching. As a working professional, Tom brings an outsider’s
point of view while working inside academia. Jean draws on her years of experi¬
ence in the outside world in addition to the discipline and in-depth analysis of
our business that comes from earning a Ph.D. Each of us brings a unique blend
of real-world and academic perspectives. In other words, outside/in.
Our approach is to share what we’ve learned in this business, what has
worked well for us in teaching classes, and what we’ve observed from others who
are more talented and successful. The rest we’ve just stolen from other authors
(with every attempt to give credit where it’s due).
This book has several other differences from traditional textbooks:

• More how, less why: The focus here is on creative strategy and tactics. We
skip most of the principles and history of advertising. Instead, we offer
more tips and techniques, checklists and how-to stuff. We recognize that
creativity does not come from reading a list or following some formula,
but the presentation of some concepts may help readers get organized or
trigger a burst of creative thinking.

• Up-to-date examples: About 90% of the examples we present here are less
than five years old. Those that are older are used to illustrate key points,
not to represent the latest trends.

xv
xvi ADVERTISING STRATEGY

• Student-created ads: This is your competition. These examples not only

illustrate particular points, they show the incredible untapped resources in
our colleges and design schools.

• War stories: We offer short case histories and anecdotes from our personal
files and from other people in this business.

If you learn nothing else from this book or from an advertising class, remem¬
ber this: Never stop learning. Never stop growing.
Let’s get started.

Acknowledgments
Wed like to thank the following people, without whose help this book would
never have gotten this far: Mary Altstiel and Terry Doyle, for their proofreading
skills and incredible patience while we were holed up with a computer instead of
spending,quality time with them. Scott Bedbury, who graciously provided a
wealth of insight about branding. Anna Morris and Iliana Aleman, who pro¬
vided valuable perspectives on African American and Hispanic advertising. Janet
Champ and Charlotte Moore (formerly with Wieden + Kennedy), Bill Wright
(Crispin Porter + Bogusky), and Andrew Meyer (Leo Burnett), who contributed
great war stories. Peter Noble (Southern Methodist University), who was the
adviser for the 2004 NSAC championship team, provided valuable perspectives
on NSAC and connected us with former students who provided even more
information. Mike Trinklein, Dan Early, Johnathan Crawford, Jeff Ericksen, and
John Melamed, all Milwaukee-area professionals, who provided a world of great
information on broadcast, the Internet, and advertising in general. Dan
Augustine, who took many hours out of his blossoming career to create illustra¬
tions for several chapters of this book. Our students, who offered constructive
criticism and also provided some of the samples used in this book.
Finally, we would like to gratefully acknowledge the support and encourage¬
ment of our editor, Margaret Seawell, who saw in our book a unique con¬
tribution to advertising education. Along with Margaret, a number of others at
Sage patiently guided us through the publishing process, including Sarah
Quesenberry, Deya Saoud, Denise Santoyo, and Judy Selhorst. Finally, we wish
to thank our colleagues who supported our efforts by giving us the freedom to
pursue our dream and finish this book.
Copy and Creativity

o one can teach you to be creative. But you may be surprised

how creative you really are. You may not have been an A+ English
student. But you may find you’re an excellent copywriter. In reading
this book, you will discover a lot about creative strategy and tactics and probably
a lot about yourself. At the very least you should learn the following:

• The correct format for writing copy for each medium.

• The basic rules of copywriting and when to break them.

• How to put more sell into your copy.

• How to connect the reader or viewer with the advertiser.

• How to keep continuity throughout a campaign.

• The importance of presenting your work.

Who Needs Copy

(and the People Who Write It)?
At the beginning of each semester, we ask our students, “Who wants to be a
copywriter?” When we first began to ask this, we expected the majority to raise
their hands, or at least lift them a few inches off their desks. Sad to say, only
about one in six expresses any interest in becoming a copywriter, at least at the
beginning of the course. These are the most common reasons students give us
for not pursuing a writing career:

“I want to be an account exec.”

“I want to be a media director.”
“I want to be a designer—I do pictures, not words.”
“I’m not sure I can write.”
“I’m not sure I even want to be in advertising.”

1
2 CHAPTER 1

These are legitimate reasons, but we

can make a case for learning about
creative strategy and tactics to
answer every one of them.
Account executives need to
know how to evaluate creative
work. Does it meet the objectives?
What’s the strategy? Why is it great
or not so great? When account exec¬
utives and account managers under¬
stand the creative process, they are
more valuable to both their clients
and their agencies.
Media folks need to recognize
the creative possibilities of each
medium. They need to under¬
stand tone, positioning, resonance,
and the other basics pounded
into copywriters.
Designers, art directors, produc¬
ers, and graphic artists should know
how to write or at least know enough
to defend their work. Why does it
meet the strategies? Do the words
and visuals work together? Does the
font match the tone of the ad? Is the
1.1. When other cars represented conspicuous consumption,
body copy too long? (It’s always too
VW countered with a sensible economic approach.
long for art directors.) Design can’t
be separated from the process.
There is English and there is
advertising copy. You’re not writing the Great American Novel. Or even a term
paper. You are selling products and services with your ideas, which may or may
not include your deathless prose. What you say is more important than how you
write it. Ideas come first. Writing with style can follow.
Creativity is still useful outside of advertising. You can put the skills you learn
through developing creative strategy and tactics to work in many other fields. The
ability to gather information, process it, prioritize the most important facts, and
develop a persuasive message is useful in almost every occupation.
Even if you don’t aspire to be the next David Ogilvy, you might learn
something from this book about marketing, advertising, basic writing skills, and
presenting your work. Who knows, you might even like it.

The history of creative

advertising (don’t worry, it’s not long)
You can find other books that outline the history of advertising, probably
going back to cave paintings. We’ll concentrate on the advent of the Creative
Revolution, one of many uprisings that took place during the turbulent 1960s.
Unlike any other era before or since, the focus was on youth, freedom, anti¬
establishment thinking—and, let’s face it, sex, drugs, and rock ’n’ roll. So it’s not
 COPY AND CREATIVITY 3

surprising that some of the world’s most recognized ads (some of which are
included in this book) were created during that time.
What made these ads revolutionary? First, they began to shift the focus
from the product to the brand. They developed a look, introduced memorable
characters, and kept a consistent theme throughout years of long-running
campaigns. All of these factors built brand awareness and acceptance. Second,
they twisted conventional thinking. When most car companies were touting tail
fins and chrome, VW told us to “Think Small.” When Ffertz was bragging
about being top dog, Avis said, “We try harder,” because they were number two.
When Levy’s advertised “our Jewish rye bread,” they used an Irish cop and a
Native American as models. Third, they created new looks, using white space,
asymmetrical layouts, minimal copy, and unique typography—all design ele¬
ments that we take for granted in today’s ads.
The driving forces of this revolution included such giants as Leo Burnett,
David Ogilvy, and Bill Bernbach, all of whom are quoted heavily in this text.
First and foremost, they were copywriters. Even though they chaired mega¬
agencies, their first love was writing. In this age of rapidly changing technology
and Integrated Marketing Communications, maybe you could become a leader
in the next creative revolution.

The Copywriter’s Role

Most copywriters do a lot more than just write ads. In fact, writing may be only
a small part of their jobs.

The creative quarterback

Traditionally, a creative team includes a copywriter and an art director, with
participation by interactive designers, Web developers, and broadcast producers.
This team usually answers to a coach—the creative director.
Every player has his or her role on the team, but in many cases, the copywriter
drives the creative process. The copywriter is usually the quarterback or, if you like,
the point guard—the person who sets up the action. Why? Because the writer has
to know the product frontward and backward, inside out. The writer knows who
uses the product, how it compares to the competition, what’s important to the
consumer, and a million other facts. (We’ll cover later how he or she knows this.)

SHOE

..
12
4 CHAPTER 1

coach
(creative director) Opposition
(the client)

not a
chance.

quarterback
(copywriter) wide reciever
(designer)

1.3.
Source: Illustration by Dan Augustine.

Every member of the creative team should have a good understanding of the
product, but the copywriter should know more than anyone else. Just as a quar¬
terback needs receivers and running backs, the copywriter has to rely on other
skilled players. No one does it all. And no one person always has the best idea.
Sometimes art directors write the best headlines. Or writers come up with killer
visuals. Although the writer should drive the creative effort, he or she does not
have to dominate it.

So, what else does a writer do?

In small shops, the writers wear so many hats, it’s no wonder they develop big heads.
Some of their responsibilities, aside from writing copy, include the following:

• Research: Primary and secondary research really matters.

• Client contact: Writers should get the facts direct from the sources, rather
than filtered through account executives; they also present those ideas and
defend the work.

• Broadcast production: Finding the right directors, talent, music, and post¬
production houses makes a writer’s visions come to life.

• New business: Often writers gather data, organize the creative strategy,
work on the pitches, and present the work.

• Public relations: Some copywriters also write news releases, plan promo¬
tional events, and even contact editors.

• Internet!interactive content management: The Internet has become an

integral part of a total marketing communication effort. A lot of “tradi¬
tional” media writers are now writing for Web sites and interactive media.

• Creative management: Much has been written about whether copywriters

or art directors make the best creative directors. The answer: yes.
 COPY AND CREATIVITY 5

Controlling the Creative Process

If the writer drives the creative process, how does he or she keep it on the right
path? We’ve developed some checkpoints for the creative process. They don’t
always evolve in the order shown below, but in most cases, you’ll have to reach
these mile markers before the work is ready to produce. If you let someone else
take the lead, you may not be able to guide him or her in the right direction.

Step 1: Getting the facts. If you have a research department and/or account
planners, take advantage of their knowledge. But don’t settle for someone else’s
opinion. Talk to people who use the product as well as those who don’t or won’t
even consider it. Talk to retailers who sell the product. Look at competitive
advertising: What’s good? Where are they vulnerable? In short, know as much as
you can about the product, the competition, the market, and the people who
buy it. Try to make the product part of your life.

Step 2: Brainstorming with a purpose. If you’ve done your homework, you

should know the wants and needs of the target audience and how your product
meets those needs. From that base, you can direct the free flow of creative ideas.
Thanks to your knowledge, you can concentrate on finding a killer creative idea
rather than floundering in a sea of pointless questions. But you must also be
open to new ideas and independent thinking from your creative team members.

Step 3: Finding the reference/visuals. You may have a clear vision of the creative
concept, but can you communicate that to your art director, creative director,
account exec, and client? You can help your art direc¬
tor by finding photos, artwork, or design elements—
not to rip off those ideas, but to make your point. The
finished piece may not look anything like your origi¬
nal vision, but at least you can start with a point of
reference. Browse the Web, stock photo books, and
awards annuals. We can’t emphasize this enough,
especially for beginning writers—even if you can’t
find what you want, the search might trigger a new
idea. The visual selection is a starting point, not
the endgame.

Step 4: Drawing a writer’s rough. This is critical,

even if you can only draw stick people. Where does
the headline go? How much copy do you think
you’ll need? What’s the main visual? How should
the elements be arranged? Even though art directors
may ridicule your design, they will appreciate
having the raw elements they can massage into a
great-looking ad.
1.4. Even though art directors may mock your
Step 5: Working with the art director and the rest artistic ability, a writer’s rough will give them
of the team. For most writers, the happiest and most a good idea of how the ad should look.
productive years of their careers are those spent
6 CHAPTER 1

collaborating with art directors or broadcast producers. When two creative

minds click, the whole really is greater than the sum of the parts. A great creative
partnership, like any relationship, needs to be nurtured and has its ups and
downs. Although as the writer you may want to drive the whole process, it’s best
not to run over your teammates. They may come up with some ideas that will
make you look like a genius.

Step 6: Preselling the creative director and account executive. Chances are you
will not be working directly with the client, and even if you are, you probably
won’t be the sole contact. That’s why you need the people who interface with the
client to buy into your ideas. Maintaining a good relationship with the creative
director not only protects your job, it also gives you an ally when you pitch the
account executive and client.
In many cases, the account executive represents the
client in these discussions. He or she may try to poke
WORDS OF WISDOM holes in your logic or question your creative choices.
That’s why you must be able to back every creative
"In the ad game, the days
choice with sound reasons. In the end, if the account
are tough, the nights are j executive is sold, you have a much better chance of
long, and the work is convincing the client.
emotionally demanding.
But it's worth it, because Step 7: Selling the client. We’ve been in far too many
meetings where the account executives were “1,000%”
the rewards are shallow,
behind the concept but started backing away at the first
transparent, and hint of a client’s frown. As the writer who developed the
meaningless idea, you have to be prepared to defend your work, using

—Unknown copywriter1
logic rather than emotion. Many times your brilliant rea¬
soning will fail, since clients usually think with their
wallets. Over time you’ll know how far you can push a
client. The trick is to know when to retreat so you can fight another day. Most
clients don’t mind being challenged creatively, as long as there are sound reasons
for taking chances.
The three things you never want to hear from a client:

• “That looks just like the competitor’s ads. I want our ads to stand out.”

• “I was looking for something a lot more creative. Take some risks.”

• “You obviously don’t understand our product or our market.”

You won’t hear those things if you take care of Steps 1-6.

Step 8: Getting it right. OK, you’ve sold the client—now what? You have to
hand your creation to the production team, but your responsibilities don’t end.
Does the copy fit the way it should? If not, can you cut it? Can you change a
word here and there to make it even better? Are the graphics what you envi¬
sioned? Your involvement is even more critical for broadcast. Did you have a
specific talent in mind for voice or on-camera roles? Does the director under¬
stand and share your vision? Does the music fit?
If you remember nothing else, keep this in mind and follow it through Step
10: Nothing takes the guts out of a great idea like bad execution.
 COPY AND CREATIVITY 7

Step 9: Maintaining continuity. Almost everyone can come up with a great

idea. Once. The hard part is extending that great idea in other media and
repeating it, only differently, in a campaign. Over time, elements of a campaign
tend to drift away from the original idea. A client usually gets tired of a look
before the consumer does. Art directors may want to “enhance” the campaign
with new elements. Someone on the creative team needs to monitor the ele¬
ments of an ongoing campaign continually to make sure they are true to the
original idea.

Step 10: Discovering what worked and why. If the ad or series of ads in
a campaign achieve their objectives, great! If they win awards but the client loses
market share, look out. You need to keep monitoring the efficacy of the cam¬
paign. What are the readership scores? What do the client’s salespeople and
retailers think? How are sales? If you had to make any midcourse corrections,
what would you do? If you never stop learning, you’ll never miss an opportunity
to make the next project or campaign even better.

Where Do I Go From Here?

A lot of entry-level copywriters set lofty career goals—most often the coveted
title of creative director. However, many junior writers don’t consider the other
exciting possibilities. We list a few below for you to consider. You may actually
take several of these paths in your career.

Copywriter for life: It could happen. Some people are happy to write their
whole careers. You can do it if you continue to improve and never stop growing.

Management/creative director: A great job with great responsibilities. It often

involves more personnel management than creative talent, requiring the skills of
a head coach, sales manager, and kindergarten teacher.

Account manager: Many writers are drawn to “the dark side.” It makes sense,
especially if you like working with clients and thoroughly understand the prod¬
uct, market, and consumers. In some small shops, the copy-contact system
gives account execs an opportunity to create and creative types a reason to
wear suits.

Account planner: This is a natural for many writers who like research and enjoy
being the conduit that connects the account manager, creative team, and con¬
sumers. It involves thorough knowledge of research, marketing, creative, and
media, and a lot of intuition. Most successful advertising copywriters already
possess those skills.

Promotion director: Writers are idea people, so it makes sense to use that
creativity to develop sales promotions, special events, sponsorships, specialty
marketing programs, displays, and all the other marketing communication tools
not included in “traditional advertising.” This is a rapidly growing area with a lot
of potential for creative people.
8 CHAPTER 1

Public relations writer: Although most PR people won’t

admit it, it’s easier to write a news release than an ad.
Most advertising writers won’t admit that editorial
writing is usually more persuasive than advertising. PR
"I honestly believe that writing involves much more than news releases, though.
advertising is the most You may become an editor for a newsletter or an in-
fun you can have with house magazine. You may produce video news releases or

your clothes on” schedule events, press conferences, and any number of
creative public relations efforts.
—Jerry Della Femina2
Writer in an internal advertising department: So far,
we’ve outlined agency jobs, but other companies also
need talented creative people.' In small companies, you
may handle brochure writing, PR, trade shows, and media relations in addition
to advertising. In larger companies, you may handle promotional activities not
covered by your ad agency. You may even write speeches for your CEO.

Web/interactive media writer: The Web is so integrated into most marketing

communication programs it seems ridiculous to consider it nontraditional
media. Any writer today should be Web savvy. You should know the terminology
and capabilities of the Internet just as well as you understand magazines or
television. You don’t have to be a whiz at Flash or
HTML, but having some technical expertise is a huge
plus. As with any phase of advertising, creativity—not
technology—is the most precious commodity.

Freelance writer: A lot of people like a flexible schedule

and a variety of clients. Being a successful freelancer
requires tremendous discipline and endless self-promotion,
plus the mental toughness to endure constant rejection,
short deadlines, and long stretches between assignments.

Producer/director: Like to write broadcast? Maybe you

have a knack for writing scripts, selecting talent, editing,
and other elements of audio and video production. As with
writing for the Web and interactive, creative talent and a
logical mind are the keys. Technological expertise can be
learned on the job.

Agency owner: Any one of the previously mentioned 1.5. Even though there is no copy in
career paths can lead to an ownership position. Many of i

this ad, the copywriter gets the credit for

the top agencies in the United States were founded by the concept.
copywriters. Or course, running even a small shop requires
more than writing ability. If you want to pursue this route,
make sure you understand finance, accounting, marketing, personnel management,
business and tax laws, insurance, and other critical areas that can make or break a
business. If you don’t know that stuff, make sure you hire someone who does.

Consultant: Too often, consultant is another word for unemployed. A select few
actually make a living as creative consultants. Sometimes they are no more than
 COPY AND CREATIVITY 9

repackaged freelancers. Sometimes they are “rainmakers” who help with a

new-business pitch. Still, a number of downsized companies and agencies will pay
consultants for skills and contacts they don’t have in-house. Keeping current and
connected is the key to success as a consultant.

Instructor: Want to give something back to the next generation? Want to

interact with eager students? Want to earn a couple extra bucks for a nice vaca¬
tion or a new motorcycle? If so, you may consider teaching. Some schools hire
working professionals as adjuncts, providing a small dose of the real world
to academia.

What’s in It for Me?

You’ve probably already discussed the role of advertising in society and explored
ethical issues. You’ve reviewed theories of communication and might have even
read about the great copywriters of all time. That’s all good, but let’s be honest—
if you want a creative career, you’re only interested in three things: Fame,
Fortune, and Fun. And not necessarily in that order. Let’s look at each one in a
little more detail.

• Fame: Everyone wants recognition. Since advertising is unsigned, there

are only two w'ays to get it: awards and having people say, “You’re really the
person who did that?” If they’re judged good enough, writers and art
directors are immortalized in Communication Arts annuals. Last time we
looked, there are no books showcasing account execs and media buyers.

• Fortune: Depending on experience, the economy, the results they gener¬

ate, and a million other factors, creative people can make as much as or
more than any other people in advertising. Recent salary surveys show

..
16
Source: Illustration by Dan Augustine.
10 CHAPTER 1

salaries for top creatives and top account supervisors are pretty much the
same. But as a writer or art director, you get to wear jeans, have tattoos,
pierce your nose, and spike your hair. If you want to. Even though
creatives are given wide latitude in dress and behavior, never forget: It’s
still a job.

• Fun: You can be famous and rich and still be unhappy in any business.
Even if you’re not well-known or a millionaire, you can still get a kick out
of solving problems for clients. It’s still a treat to work with other creatives,
interact with musicians and actors, win presentations, and travel to exotic
locales such as Sardis, Mississippi. No matter how much you’re earning,
when it stops being fun or if you lose your edge, you should probably
consider getting out.

Knowing the Rules

and When to Break Them
We won’t-dwell on too many of the rules of advertising writing and design, but
we will look at some accepted practices. These are the tips and techniques that
have proven successful over time.
One “rule” will always be true: Advertising is a business. A business popu¬
lated by a lot a crazy people, but still a business. Although the slogan “It’s not
creative unless it sells” has lost its
impact, you still have to persuade
someone to buy something. This real¬
ity leads to what we call “creative
schizophrenia”—the internal conflict
between the stuff you want to do and
the stuff clients make you do. For
example, if you want to get a job you
need really cool, cutting-edge stuff in
your portfolio, stuff that usually isn’t
usable in the real world. When you
land that job, you’ll probably be
forced to do a lot of boring stuff that
1.7. sells products but looks terrible in
your book. That’s the nature of this
business, and unless you can live with
a split personality, it’s hard to survive. As famous copywriter Carl Ally said:
“There’s a tiny percentage of all the work that’s great and a tiny percentage that’s
lousy. But most of the work—well, it’s just there. That’s no knock on advertis¬
ing. How many great restaurants are there? Most aren’t good or bad, they’re just
adequate. The fact is, excellence is tough to achieve in any field.”3
Think of three circles. The first and smallest is the edgy stuff you’d like to do,
but usually doesn’t sell anything. You see a lot of this in art magazines and at
awards shows. Most of it is produced only for art magazines and awards shows.
The next circle contains ads that actually sell. They may be great or just average,
but they work for a living. The last and largest circle is “Planet Schlock”—a
 COPY AND CREATIVITY 11

dreadful place populated by local car dealers, personal injury attorneys, and Chia
Pets. Some of these ads sell like gangbusters, but most just lay there and stink.

You don’t have

to be crazy, but it helps
Psychologists have spent years studying creativity. Tests have proven to
be “mediocre predictors” of creative achievement. That should reassure some
students studying for final exams in writing or design classes. Collectively, studies
have shown that creative people “are more autonomous, introverted, open to new
experiences, norm-doubting, self-confident, self-accepting, driven, ambitious,
dominant, hostile and impulsive” than noncreative people. At the core, they are
independent and nonconformist. If that describes you, perhaps you’re suited to be
a writer or art director. Other studies have found that creative people, particularly
writers, suffer more from “mood disorders,” especially depression.4 Anecdotal evi¬
dence supports that theory. Many of the best writers are privately dissatisfied with
their work while they defend it unflinchingly to clients and colleagues. Although
it’s not exactly creative schizophrenia, it can drive a person a little nuts at times.
But, as Jimmy Buffett said, “If we weren’t all crazy, we would go insane.”

our work was pretty damn good (whether that was a

Gold Pencils versus Meat
compliment or damning with faint praise, I don’t know).
and Potatoes
What really struck me was his second comment: “You
In another life, I was VP/creative director at a small
never see most of the crap we have to do for clients. Sure,
Milwaukee shop. The owner (who had promised to turn
we win a ton of awards, but that’s only a fraction of what
over the place to a few of us execs) decided to sell it all to
we do. We’re lucky to have enough great clients that let
a big Minneapolis agency. Not just any big agency, but
us do a lot of good work. The rest of the world thinks all
one of the acknowledged creative powerhouses of the
we do is produce award-winning ads, while in reality,
universe. They had enough gold pencils to become a sec¬
most of what we do is not much better than the meat-
ond Fort Knox. So when I met with the president of the
and-potatoes stuff everyone else cranks out.”
big shop, I was naturally a little apprehensive. How could
—Tom Altstiel
our meager creative efforts stand up against the darlings
of the CA annuals? First, he reassured me that the best of

Keeping It Legal... and Ethical

Sometimes a number of issues come together to make the perfect storm of
marketing silliness and political incorrectness. The Great Beer Wars of 2004-5
is a prime example. After a decade of sagging sales, Miller Lite rebounded
when they claimed to have fewer carbs than archrival Bud Light. Budweiser,
12 CHAPTER 1

violating the cardinal rule that Number One doesn’t mention the competition,
weakly replied that all light beers are low in carbs and that taste is all
that matters.
Feeling frisky, Miller launched a campaign to poke fun at the King of Beers,
claiming that real Americans don’t “kowtow to a bunch of tiara-wearing crumpet
eaters” and that Miller is the “President of Beers.” Budweiser responded by
taunting Miller as the “Queen of Carbs”—a not-so-subtle attack on the man¬
hood of red-blooded beer drinkers. This triggered out¬
rage by feminist and gay/lesbian groups. Bud continued
the offensive by pointing out that Miller was owned by a
South African company, while Bud was “American
owned since 1852.” Bud went so far as to slap stickers on
Miller products asserting Miller’s South African owner¬
ship (actually, SABMiller is a British-based company).
Budweiser even brought back Louie and Frankie, the
Bud lizards, to promote the brand’s American roots and
deride Miller’s South African connection.
Some industry observers predicted a backlash of sym¬
pathy for Miller given Bud’s sledgehammer approach to
competitive marketing. Even Bud marketing executives
admitted they wanted to get back to positive brand pro¬
motion rather than the “current silliness.”

Good taste, good

sense, and good business
As you’ll see in later chapters, perceptions of ad mes¬
sages can vary widely depending on audiences. You may
find it’s worth taking a creative risk to persuade one
small group, knowing full well it will turn off most
everyone else. You have to weigh the risks (which may
1.8. So many issues, so little time. As part
include loss of overall sales, adverse publicity, and even
of the Great Beer Wars of 2004-5, Bud
lawsuits) against the benefits (higher sales to a select
challenged the patriotism and manhood
group, publicity, and creative recognition). We do not
of Miller drinkers. This Memorial Day ad
claimed (incorrectly) that Miller was a
advocate doing anything creatively for the sake of shock

South African company and seemed to

value. Nor do we recommend using sexist, racist, or
homophobic messages, sleazy gimmicks, or gutter
say the best way to honor our country is
to show bikini-clad women holding Buds.
humor to gain attention. Some of the examples in this

The copy reads, “Show your colors this

book may go beyond the threshold of acceptable taste

holiday weekend with a true American

for some people. They are what they are, and even if we

beer. Unlike Miller, who was bought by

don’t always agree with their content, they are part of
the real world.
South African Breweries, Anheuser-Busch
has proudly been AMERICAN OWNED The American Association of Advertising Agencies
SINCE 1852.” has established a creative code of ethics for its members.
Even if you’re not a 4A member, it’s good advice:
Knowing what not to do does not absolve you of
responsibility. While you might not be able to change the world through adver¬
tising, you can certainly avoid adding to the current problems. We encourage
you to find ways to include positive images of minorities and marginalized
 COPY AND CREATIVITY 13

Creative Code of Ethics Price claims that are misleading.

of the American Association Claims insufficiently supported or that distort the
of Advertising Agencies true meaning or practicable application of statements
We the members of the American Association of made by professional or scientific authority.
Advertising Agencies, in addition to supporting and Statements, suggestions or pictures offensive to
obeying the laws and legal regulations pertaining to public decency or minority segments of the population.
advertising, undertake to extend and broaden the We recognize that there are areas that are subject to
application of high ethical standards. Specifically, we honestly different interpretations and judgment.
will not knowingly create advertising that contains: Nevertheless, we agree not to recommend to any
False or misleading statements or exaggerations, advertiser, and to discourage the use of, advertising
visual or verbal. that is in poor or questionable taste or that is
Testimonials that do not reflect the real opinion of deliberately irritating through aural or visual
the individual(s) involved. content or presentation.5

groups in mainstream advertising. Overall, the philosophy of enlightened self-

interest” works best. When you do good, you’ll do well.
We hope we’ve got you thinking about some of the ethical issues involved
in what you, as copywriter, actually do. How can you make a difference for you,
for your client, and for society? It really does matter how you frame an issue, high¬
light a benefit, select an image, take on the competitor, and choose your words. It’s
about ethics, but it’s also about legality, because the law kicks in where ethics ends.

Legal concepts that really matter

Whole books have been written on the subject of the law and advertising. We have
no intention of even trying to compete. Rather, we want to focus very briefly on
two aspects that we think really matter to copywriters: claims and copyright.

Stake Your Claim

Copywriters make all kinds of claims, and most of them are perfectly legal.
Yet it’s worthwhile to consider briefly what legal really means. All fact claims in
advertising are viewed very seriously under the law. There can be no deception.
If you’re making a fact-based claim, you’d better have research data to back it up.
However, advertisers have a fair amount of wiggle room in the three types of
nonfact claims that are routinely used: puffery, obvious falsity, and lifestyle
claims. Most of us write claims that fall into one of these three categories, and
thus we escape the scrutiny of the law.

• Puffery is the use of superlatives to tout the greatness of your brand—

making it so obvious that consumers are bound to know the claims are
exaggerated. “Nestles makes the very best chocolate” is incredibly amaz¬
ing puffery—and so is our commentary on it.
14 CHAPTER 1

• Obvious falsity usually involves spoofs, spins, or metaphors. Consumers

can’t miss the obviously false nature of the claims. The Altoids tagline
“Curiously Strong” is a great example of a claim with obvious falsity, with
a dose of puffery.

• Lifestyle claims are claims that are based on subjective assumptions about
how consumers feel about the product or its effects. Think of ads for
Viagra. They are making some big assumptions—one ad implied more
than an assumption about lifestyle and had to be pulled.

You walk a fine line, but as long as your nonfact claims fall somewhere within
the bounds of these three categories, you’re probably safe.

Copyrights and Copywriting

It’s very important that copywriters understand and
respect copyright law. As students and instructors, most of
WORDS OF WISDOM
you know that under die “fair use” doctrine you can repro¬
"The creative person duce nearly anything—just as long as it’s for educational
wants to be a know-it- - purposes. In fact, the ads in this book are being used for edu¬
all... because he never cational purposes and thus fall under the fair use doctrine.
When you are concepting ads, fair use also applies.
knows when these ideas
Since the advent of computers and the massive expansion of
might come together to form
the Internet, art directors and copywriters have been bor¬
a new idea. It may happen six
rowing images and pasting them into layouts to illustrate
minutes later, or six months,
concepts for their clients. The fact that you are not repro¬
or six years down the road ” ducing these images for profit is what allows you some
—Carl Ally6 wiggle room. That’s where fair use ends, however. You
must either buy the images you want to use in actual ads or
re-create the borrowed images in ways that are substantially different so as not to be
construed as copying the images.
What about words? Most slogans and taglines are considered protected by
copyright. So are brand names. In fact, most brand names are trademarked and
aggressively protected. Using someone else’s slogan or tagline will get you into
legal trouble, and it won’t do much for your career either. You need to do your
homework to be sure that the brilliant tagline is not already used by another
brand. When in doubt, run it by a colleague or do an online word search. If
you re still in doubt, contact legal counsel. Many large agencies have their own
legal staff. If you work for an in-house agency, you might have access to legal
counsel through the corporation.
In short, dont make assumptions, and do your homework.

A Word about Awards

Luke Sullivan explains the attraction of awards in his book Hey Whipple,
Squeeze This:

Our work isn’t signed. And when you’re new in the business, there’s no
better way to make a name for yourself than getting into “the books.”
Awards shows allow tiny agencies to compete with the behemoths. They
serve as great recruiting tools for agencies. And they expose us to all kinds
of work we’d not see otherwise.7
 COPY AND CREATIVITY 15

We can’t think of another industry that congratulates itself as much. There

are probably more than 50 national advertising awards programs and hundreds
of awards in local, regional, and industry-specific venues. While it’s always fun to
win, many awards programs have experienced problems with bogus entries and
fraudulent documentation. Some entries have been created just for the awards
and never appeared in any media. The hunger to win can turn into a feeding
frenzy. One of the most notorious examples involved a near riot at an awards cer¬
emony where the nominees stormed the podium and looted the awards.
We’ve also been on the judges’ side
of the table. It’s a tough job. There’s no time
to read all the copy. No one wants to listen BIZARRO
to all those radio spots. In most cases, you
never know if an ad is real or was produced
just for the show. Sometimes judging pan¬
els arbitrarily decide that nothing is good
enough to win in certain categories.
The toughest and the most valuable of
the award competitions in advertising
include the One Show, ANDY, ADDY,
EFFIE, Communication Arts Advertising
Annual, D&A.D Awards (United King¬
dom), and Cannes.
Winning awards can earn you some
short-term fame and maybe a little for¬
tune, but over time, you’ll have to sell
something. If you keep moving from one
award-hungry shop to the next, you might
have a great career. But if you stay put,
eventually a client will demand that your
creativity puts some cash into the company
as well as plaques on your wall.

Before
You Get Started
Most texts on advertising will tell you that you cant just start writing an ad from
scratch. Of course you can. And you just might get lucky the first time. But can
you repeat that success? What about the next project? And the one after that? No
one hits a home run every time at bat. But those who study the fundamentals of
the game, take batting practice, and play every day have a much better chance
when they step up to the plate. That’s why we need to discuss the foundations of
marketing communications. First, a few definitions.

Advertising, MarCom, IMC, IBP, or what?

Everyone knows what advertising is, right? George Orwell called it the rattling of a
stick inside a swill bucket.”8 H. G. Wells claimed, “Advertising is legalized lying.”9
For a less cynical take, Professor Jef Richards of the University of Texas says, “Adver¬
tising is the ‘wonder’ in Wonder Bread.”10 He should know. He teaches advertising.
16 CHAPTER 1

You’ve probably learned that advertising is paid communication to promote

a product, service, brand, or cause through the media. Is direct mail advertising?
Well, if you consider mail a medium, yes. How about a brochure? Probably not;
however, it can be mailed or inserted into a magazine as an ad. Internet content?
Yes and no. A Web site by itself is not really advertising, but a banner or pop-up
ad on that site is. Public relations? No, because the advertiser is not paying the
editor to publish an article (at least not directly).
Confused? Don’t feel alone. Many marketing professionals can’t distinguish
between advertising and other forms of promotion. That’s where the term MarCom
arose. Some people view MarCom as taking in every form of marketing communi¬
cation. Others describe MarCom as every form of promotion that’s not traditional
advertising. Traditional advertising usually covers print (newspapers, magazines),
television, radio, and some forms of outdoor media. “Nontraditional” promotion
includes direct marketing, sales promotion, point of sale, public relations, the
Internet, and everything else you can slap a logo, slogan, or ad message on. These
divisions evolved as large agencies discovered that they could make money beyond
earning media commissions for “traditional” advertising. So they created MarCom
units or separate interactive, direct, and sales promotion divisions. Sometimes these
are set upias separate entities under the corporate umbrella of a large agency.
IMC, or Integrated Marketing Communications, unites the MarCom
elements into a single campaign. IMC has become a buzzword, especially for
agencies that recently set up MarCom divisions. Actually, IMC is nothing new.
Smaller full-service agencies and in-house ad departments have been doing it for
years under the banner of “doing whatever it takes to get the job done.” With
limited budgets, companies need to get the most mileage possible from their
promotional dollar with a variety of tools, including advertising.
Elements of IMC can include the following:

• Trade and professional journal advertising

• Direct mail

• Conventions/trade shows

• Incentives for sales force

• Public relations/publicity

• Event marketing

• Sales promotion (contests, rebates, and so on)

• Point-of-sale displays

• Brochures and catalogs

• Sales meetings

• Trade show support

• Newsletters

• Corporate ID

• Package design

• Co-op ads

• Banner ads

• Viral marketing
 COPY AND CREATIVITY 17

• Customer relationship marketing

• Videos

• Interactive CD-ROMs

• Web pages

• Search engine marketing

• Permission marketing

• Product placement

• Movie trailers

1.10. IMC is a big part of many business-to-business campaigns. Here direct mail,
collateral, premiums, and print advertising were all used to bring prospects to a trade
show booth, where the real selling took place. Response rate: a remarkable 98%.

IBP (integrated brand promotion)

Like its counterpart IMC, IBP, or integrated £rand promotion, is another way to
approach the elements of MarCom. Here the focus is on strategic brand build¬
ing. Thomas O’Guinn, Chris Allen, and Richard Semenik define IBP as “the use
of various promotional tools, including advertising, in a coordinated manner to
build and maintain brand awareness, identity and preference.”11 Their approach
focuses on coordinated efforts to build and maintain a brand.
No doubt you will encounter many other acronyms and buzzwords that
all mean pretty much the same thing: marketing communications. For the sake
of simplicity, we use the terms advertising and MarCom interchangeably in this
text. Most of the organizational principles that apply to advertising, in its
strictest definition, also apply to direct mail, the Internet, and sales promotion.
We’ll make distinctions in special cases. So as you read, when you see “advertising,”
think “marketing communications.”
18 CHAPTER 1

Convergence
As of this writing, “convergence” has become the latest buzzword for integrating
the Internet with other marketing communication methods. Although
in later chapters we separate promotion from the Internet, and print from direct
mail, in today’s blurred marketing communication environment, most of these
have to work together for a complete campaign—not unlike the way integrated
marketing has always functioned. Since this is primarily a book about copywrit¬
ing, we need to address the specific requirements of writing for each medium
rather than “converging” them into a single discussion.

Advertising’s Role
in the Marketing Process
If you really want to understand how advertising works as a component of the
whole marketing process, get to know DAGMAR. She isn’t a Danish exchange
■* student. DAGMAR stands for “defining advertising goals
I for measured advertising results.”12 The basic premise is
that the effectiveness of advertising can be measured at all
WORDS OF WISDOM phases. If you can measure effectiveness, you don’t need to
watch the cash register to know whether your advertising
"Creativity without is working.
strategy is art. Creativity The key components of DAGMAR are awareness,
with strategy is advertising ” comprehension, conviction, and action. In addition to
providing a way to quantify advertising effectiveness,
—Jef Richards13
DAGMAR provides a great model for the way advertis¬
ing works:

Awareness: How do you get viewers’ and listeners’ attention? They have to
remember a brand or product name.

• Comprehension: What does the brand mean to them? Do they understand

the product benefits? Can they differentiate your product from the com¬
petition? What is the present position of your brand?

• Conviction: Conviction is the bridge between knowing and doing. When the
prospects are aware of the product and perceive a benefit or at least a differ¬
ence, what do you want them to do? Ideally, you’d like them to have warm
and fuzzy thoughts about your brand. You’d like them to compare your prod¬
uct to the competition, look for it in the store, and send for information.
Depending on the type of product, this process may take seconds or months. i

• Action: Ultimately, this means sales—even though it usually takes more

than advertising to close the deal. But it can also involve several steps, such
as a test-drive for a car or a meeting with a sales representative. It depends on
the type of product. Trying a new brand of gum usually doesn’t require
much involvement. Buying a million-dollar machine tool does. One of the
key lessons of DAGMAR is that advertising can be very effective, but it can
only bring the potential customer to the seller. If the product doesn’t meet
the buyer’s wants and needs or the salesperson blows the sale at the dealer¬
ship, you can’t blame it on the advertising.
 COPY AND CREATIVITY 19

Table 1.1 The Relationship between Strategy and Tactics

Strategy Tactics

Increase awareness and comprehension Four-color full-page magazine ads in

of new arthritis medicine in 50- to 80- AARP, Arthritis Today, and Arthritis Self-
year-old women from 5% to 20% in 12 Management. Create Web site to discuss
months. trends in arthritis, treatments, and results.

Expand database of potential lawn Hold sweepstakes to win a free lawn

mower buyers in top 25 DMAs (desig¬ mower as incentive to send in direct mail
nated market areas) from 50,000 to questionnaire. Promote sweepstakes on
200,000 names by January 31 next year. radio, TV, point of sale in stores.

Encourage 50,000 20-30-year-olds to Offer free backpack for test-drive.

test-drive the new Honda Element from Promote with network and cable TV,
April 1 through June 30. spot radio, and magazine ads in Maxim,
Cosmopolitan, and Rolling Stone.

Creative Strategy
in the Marketing Mix WORDS OF WISDOM

"Brilliant creative isn’t

The difference between strategy and tactics stumps a lot of
clients and their agencies. They usually mix them up and enough. You must be creative
throw in a few goals and objectives for good measure. and effective. It’s a time for
Typically, the net result is a rather random laundry list of the strategic thinker, not
what theyd like to happen—about as specific and realistic
just the creative rebel.”
as wishing for world peace. Other than drafting a mission
statement by committee, listing strategy and tactics can be —Helayne Spivak14

the most confusing and worthless task in marketing.

Don’t get us wrong. A copywriter needs to follow a
strategy. Otherwise, you’re creating for the sake of creativ¬
ity rather than solving a problem. Think of strategy development as picking a des¬
tination, such as “I want to go to Cleveland.” The strategy is to make the trip. The
tactics are how you get there. If I drive, which roads should I take? Should I fly? If
so, which airlines have the best rates? Where will I stay? How long will I be there?
You need to ask these and a bunch of other questions that deal with the specific
actions you must take to get to Cleveland and back.
Another analogy comes from the military: Strategies deal with achieving objec¬
tives, like capturing a city. Tactics are the means used to achieve strategies, such as
using a combination of close air support, flanking maneuvers from infantry, frontal
assaults by tanks, and constant artillery bombardment.
Strategy often deals in long-term solutions, such as building brand share.
Strategy is concerned with continuity, growth, and return on investment. Strategies
are very specific and almost always measurable. Tactics are all about getting results
quickly and effectively—for example, running a sweepstakes to boost sales in the
fourth quarter. Tactics are the tools we use to achieve our goals—the strategies.

Theories, Schmeories
Looking for a single theory that explains how people process advertising? Keep
looking, because no one has a one-size-fits-all solution. The search for new ways
20 CHAPTER 1

to explain why advertising makes any sense is the main justification for advanced
studies in mass communication (other than being a ticket to a professorship).

Left brain/right brain/no brain

Psychologists have discovered that people have a right brain and a left brain, each
with very different functions. We won’t spend a lot of time dissecting brain tissue,
but we can apply those findings to advertising. The left brain likes words, logic,
and reasons. The right brain likes pictures, emotions, and feelings. This is all very
interesting, but unless you can find a defined target audience composed of people
whose heads are lopsided on either the left or right, it doesn’t help you to develop
an ad concept. However, it is interesting to note that the bridge that connects the
left and right halves of the brain is larger in women than in men. Does this mean
women do a better job of balancing emotion with logic? Uh, we won’t go there.

The [your name here] creative process

Large agencies have developed their own systems for thinking about the audi¬
ence, the product, and the marketplace. All of them are good, but we don’t want
to get into specifics about them here; if we were to recommend the Foote Cone
& Belding planning grid model, for example, you’d have to unlearn it if you got
a gig at Leo Burnett. However, there are a few theories worth noting. Actually,
they started as theories and are now considered rock-solid facts of marketing
communications. These are positioning, brand character, and resonance.

Assume the Position

A1 Trout and Jack Ries revolutionized marketing in the late 1970s and early
1980s with their theory of positioning. Their book Positioning: The Battle for
Your Mind introduced a new way of thinking about products and how they fit
into the marketplace. The best definition of positioning we’ve found is this one
from George Felton:

Simply stated, positioning is the perception consumers have of your prod¬

uct, not unto itself, but relative to the competition.15

Like most new religions, positioning loses some of its orthodoxy over time. It
seems everyone has a little different spin on what it means and how it’s used.
One approach is to look at it as the evolution of advertising; as Bruce Bendinger
notes, “The search moves from ‘within the product’ (USP) to ‘within the ad’
(image) to within the prospect’s mind.’ That’s where you create your position.”16
The key to understanding and using positioning lies in the consumer’s mind.
The consumer files product considerations into two broad categories: garbage
( nothing there for me”) and maybe-I’m-interested. In the second category, the
consumer uses subcategories for different products, often aligning those positions
with heavily promoted brand images. For example, BMWs are fast. Volvos are
safe. Jeeps are rugged. And so on. So if you asked most consumers to “position” or
rank those brands in various categories, you’d probably find some resistance to the
idea that a BMW is as safe as a Volvo, or that a Jeep can be as fast as a BMW, or
that a Volvo can be as rugged as a Jeep. All true in some cases, but not universally
believed. Once a position is established, it takes a lot of effort to change it.
 COPY AND CREATIVITY 21

Before you develop the position of your client’s product, you have to ask:

• What is the current position?

• What is the competitor’s position?

• Where do you want to be?

• How are you going to get there? (That’s strategy.)

Sometimes it’s useful to describe the current and desired positions graphi¬
cally. You can use any two categories for x and y coordinates. Before you begin,
try to figure out where you are now. What’s your position? How does that com¬
pare to the competition? Do you have any unique advantages? Does the compe¬
tition have any unique advantages? Have you left any positions undefended?
Start small and keep expanding your vision until you have the big picture.

Repositioning your product

If you don’t like your product’s position, you may want to change it. Your grand¬
father bought Old Spice aftershave for its manly seafaring image in print and TV.
Today, 18—24-year-olds have made it a hot brand for deodorants and antiperspi-
rants. Procter & Gamble launched splashy marketing campaigns for Old Spice
High Endurance deodorants and Old Spice Red Zone antiperspirant and teamed
up with video-game maker Electronic Arts to create a gaming tie-in. The hook?
The football video game NCAA 2004 has a “Red Zone’’ theme with the tagline
“When performance matters most.” According to a recent article in BusinessWeek,
TV ads for Old Spice deodorant had the “highest return on investment of any
marketing element in the past three years of Old Spice. The product now holds
the number one spot in the deodorant market, with a 20% share, besting Right
Guard and other underarm giants. Old Spice is also the leading aftershave brand,
with 10% of the market.”17
Rolling Stone magazine gained wide acceptance as the first mass-market counter¬
culture publication. The Woodstock Nation grew up, cleaned up, and found that
Wall Street was cooler than Haight-Ashbury. Yet they still read Rolling Stone.
However, the magazine’s advertisers were still stuck in the sixties. RS needed main¬
stream advertisers, not smoke shops and Earth Shoes. Fallon McElligott Rice (the
precursor of today’s Fallon) did the trick with their famous “Perception/Reality”
campaign. By using icons for the perceived image of RS readers next to a symbol of
the real readers, RS attracted big-bucks advertisers. This not only kept the magazine
in business, it helped make it slicker and ultimately pushed it into the mainstream.
Volvo had always promoted the durability of their cars. The boxy old things
just lasted forever. That’s great for a few moss-covered college professors, but
most people don’t associate car ownership with tenure. Since Volvos were not
going to win any styling awards, the company wisely chose to reposition the cars
as safer than the competition. They produced a long-running campaign of well-
crafted, intelligent ads that effectively changed the brand image. Now when
someone says “safe car,” you think Volvo.

Repositioning the competition

You can also try to change the consumer’s perception of the competition through
repositioning. One way is to describe the competitions products in a different
22 CHAPTER 1

1.11. Who says business-to-business can’t be cool? This famous trade campaign won a
ton of awards and, more important, generated a ton of new advertisers for Rolling Stone.
The copy explains that Rolling Stone readers really aren’t all part of the “great
unwashed” generation.

way—not necessarily in a negative light, but using different connotations. For

example, where the word compact might be positive, tiny is less desirable.
However, you have to do this legally. In the early days of advertising, Schlitz beer
said they used “live steam” to clean their bottles. This
implied that their product was cleaner and healthier.
Without saying it, the ads also positioned Schlitz’s com¬
WORDS OF WISDOM
petition as careless slobs who gave their customers dirty
"Good advertising does not bottles. The fact was, all brewers steam cleaned their
just circulate information. It bottles. While they were the only ones that talked about
it, Schlitz offered no real competitive advantage, and
penetrates the public mind
they were forced to cease this deceptive repositioning.
with desires and belie/”
The beer wars were renewed in 2004, when Budweiser
—Leo Burnett18 positioned Miller as a “South African” brand.

Positioning Redux
Although Trout and Ries opened a lot of minds to a new way of thinking, many
critics have taken issue with their premise that creativity makes no difference.
Sometimes it’s the only difference. Creativity can create the product’s position or
reposition the product.
Another caveat is that Trout and Ries analyzed successful campaigns from the
past and made them fit their theory. Did the 7-Up creative team really think
about positioning when they launched the “UnCola” campaign, or did they just
want to do great advertising? Often the creative is the only thing that makes a
brand memorable. Remembering a brand’s position usually happens over time.
 COPY AND CREATIVITY 23

Jumping on the Brand Wagon

It has become fashionable to focus on brands—brand character, brand image,
brand values, brand equity, brand management, integrated brand promotion,
brand blah, blah blah. Why the obsession with brands? Some people theorize
that the proliferation of ad messages makes it impossible for consumers to
remember detailed product information. People are lucky to remember a few
select brand names. In addition, some observers see a shift from tangible things
to information, making the image of a brand more important than the product
itself. Another explanation is that advertisers have always stressed brand names,
only now we’re a lot more sophisticated in managing brand image. Still others
say the current focus on the brand is all part of a new crop of marketing buzz¬
words, like po-mo, CRM, and click-through rate.

swoosh in their advertising. During this same period,

Saving the Swoosh
signs began to appear in the common corporate spaces
A few years ago, while conducting some interviews at
at Nike, such as conference rooms. The signs read,
Nike, I came across a very interesting anecdote—one that
“Protect the Swoosh.” Surely this was a concerted effort
perfectly expresses the value of a brand and the power of
to protect the icon that had come to define the brand.
an icon. The Nike swoosh, in many ways, embodies the
Clearly, the equity of the Nike brand was, and still is,
“Just do it” spirit—the essence of the Nike brand. During
rooted in the swoosh.
the mid- to late 1990s, when Nike was struggling with
—Jean Grow
labor issues, they significantly reduced the use of the

Before you start supporting a brand, you first have to understand what a
brand is and what it does. Authors on advertising have their own ideas about
brands, and they’re all good. They can be summarized into two main thoughts:

• What it is: A brand is shorthand for all of a product’s attributes, good

or bad.

• What it does: A brand conveys a product’s personality, which reflects on

the people who buy the product.

Luke Sullivan expands those thoughts when he says, “A brand isn’t just a name
on the box. It isn’t the thing in the box either. A brand is the sum total of all the
emotions, thoughts, images, history, possibilities and gossip that exist in the
marketplace about a certain company.”19
If you think he’s exaggerating a bit, consider the fact that brands (at least
those with positive images) are assets to their companies, sometimes worth
billions of dollars. Some companies protect their brands like a momma bear
guarding her cubs. Put yellow arches on a taco stand or an unlicensed Harley
logo on a T-shirt and you’ll quickly find out how sharp those claws can be.
24 CHAPTER 1

Companies spend millions to establish and nurture

brand images. Brand image advertising (and promotion)
WORDS OF WISDOM sells the personality, the mystique, the aura surrounding
or emanating from the product, not the product itself.
"I believe brands have karma.
Think of the old cliche, Sell the sizzle, not the steak.
If brand awareness was once a Every product has a brand image. Some are stronger
standard measure of brand than others. Think of the brand images or brand characters
strength, and brand resonance of some well-known products. How does the brand image
of BMW differ from the brand image of Cadillac or Lexus?
and relevance are the new
All these cars cost about the same, but they all have different
yardsticks, I suspect that brand characters, as do their customers. How did Apple differenti¬
karma will one day become the ate itself from IBM? Not as a technically superior and more
ultimate definition of brand expensive computer, but rather as one with an easy-to-use
operating system favored by right-brain types. IBM told
strength. Hard to measure, but
people to “Think.” Apple said, “Think Different.”
dangerous to ignore”
Luke Sullivan states, “Most of the time were talking
—Scott Bedbury20 about going into a customer’s brain and tacking one
, adjective onto a client’s brand. That’s all. DeWalt tools
are tough. Apple computers are different. Volvos are safe.
Porsches are fast. Jeeps are rugged. Boom. Where’s the rocket science here?”21
Think about that “one adjective” for the brands on the next page.
You may think of more than one adjective, but focus on the first thing
that comes to mind. Now think about these brands’ competitors and the one
adjective each inspires. Are the adjectives different? If not, then the brands on
the following page have not “won the battle for your mind.”

1.12. This ad from Mexico proves that “Just do it” works in any language, and you don’t
even have to say it. The ubiquitous swoosh precludes the need for any other brand sup¬
port. The visual puzzle may take a few microseconds longer to process in the brain, but
once that “aha!” moment comes, you remember it.
 COPY AND CREATIVITY 25

Tiffany&Co. CHANEL
1.13. 1.14. 1.15.

Mercedes-Benz
1.16. 1.18.

1.19. Rather than show a new storefront or company logo, L. L. Bean used their products to represent the brand, tying them in beau¬
tifully with a Washington, D.C., icon. They could have also put tents on the White House lawn, a flannel shirt on the Washington
Monument—you get the idea. Once they found the visual connection, the campaign strategy became a lot easier to execute.
CHAPTER 1

To support a brand’s image, advertisers use simple, unique, and easily

recognized visuals. Over time, the brand (and all its attributes, good and bad)
comes to consumers’ minds whenever they catch even a glimpse of these visuals.
Quick, name that brand:
 COPY AND CREATIVITY 27

WAR STG R Y:

and it’s predawn in this amazing place and I say to

From the Bean to the
Dave, “What do you say will be the biggest oppor¬
Experience: How Starbucks
tunity for us?” Now remember, this guy lives for
Became a Megabrand
coffee. He’s been with Starbucks 15 years and he
Scott Bedbury was instrumental in helping Starbucks
literally worships the beans. He turns to me and
grow from a local coffee bean merchant to a global brand.
says, “Everything matters. It’s not just about cof¬
This is what is he told us about the transformation:
fee. It’s a whole story about the place, the store,

Originally, Starbucks would have spent their the people, the employees, the sound, the music—

marketing money on coffee—the bean. We shifted it’s everything.” It was a turning point in the

that to the experience. The experience goes way collective mind of management. There was some¬

beyond the cup. So originally the Starbucks story thing much richer here than just the coffee cherry.

was all about roasting the beans. The big moment “Let’s really pull the stops and make the most

for me came when I was hiking up the side of this amazing experience possible.” After this only

volcano in East Java with Dave Olsen (no relation half went to the beans. The other half went to

to Mrs. Olsen of Folgers). Dave and I are out there experience.

Resonance: Did
You Just Feel Something?
When you achieve resonance, your external message connects with internal
values and feelings. As Tony Schwartz notes, “Resonance takes place when the
stimuli put into our communication evoke meaning in a listener or viewer ... the
meaning of our communication is what a listener or viewer gets out of his expe¬
rience with the communicator’s stimuli.”22
Resonance requires a connection with feelings that are inside the consumer’s
mind. You don’t have to put in a new emotion, just find a way to tap whats
already there. In other words, to get your idea to resonate in the consumer’s
mind, you must trigger some internal experience with your communication and
connect that with your message. This will strengthen awareness, begin building
comprehension, and lead to conviction and possibly action. How’s that for con¬
necting multiple streams of psychobabble?
Want an even simpler explanation?

1 + 1=3.

That is, your message + internal experience = resonance, which is greater than
the sum of its two parts.
28 CHAPTER 1

Writing From the

Consumer’s Point of View
If you remember nothing else from this chapter,
remember this:

People do not buy things. They buy satisfaction of

“Always wear underwear their wants and needs.
that fits. It's a pretty
You may have studied Maslows theory of the hierar¬
transparent world out
chy of needs , which includes the following:
there. You can’t hide if you
want consumers to believe • Biological needs (the needs for food, water, shelter)
something to be untrue.” • Need for belongingness and love (the need to be
esteemed by others)
—Scott Bedbury23
• Need for self-actualization (the need to realize
one’s full potential)

This model is often depicted as a pyramid, with the most basic needs at the
bottom and progressing to the most complex and sophisticated at the top.
According to Maslow, an individual’s needs must be met at each level before
he or she can progress to the next level. Maslow considered less than 1% of the
population to be truly self-actualized.24
Communication theorists have expanded on Maslows list, and today some
texts list more than 30 needs. To simplify matters, we can probably sum up human
wants and needs from a marketing communication standpoint as follows:

• Comfort (avoid pain and discomfort, convenience)

• Security (physical and financial)

• Stimulation (aesthetic, physical)

• Affiliation (belonging)

• Fulfillment (self-satisfaction, status)

Daniel Starch, one of the pioneers of advertising testing, noted in the 1920s:

The business of the advertiser or the seller is not to create fundamentally

new desires. That is not necessary and really cannot be done. Man already
has certain desires present from birth, which are a part of his fundamental
make-up. Ail that a seller can do is to direct these desires in certain direc¬
tions, or stimulate them to action, or show by what new ways an old desire
may be satisfied.25

You have to discover the wants and needs of the people you want to buy your
product. Then you have to communicate with them in a way that convinces them
your brand can satisfy those wants and needs. One of the best explanations of a
consumers wants and needs can be found in this simple declarative sentence:

Don’t tell me about your grass seed, talk to me about my lawn.

 COPY AND CREATIVITY 29

Think about that. People aren’t really looking for seed.

They need a play area for their kids. They want a calm
green space for relaxing or a yard the neighbors will envy.
Security. Comfort. Fulfillment. Wants and needs. A $50
“If you can’t turn yourself into
Timex will probably tell the time just as well as a $3,000
Rolex. (Well, close enough for most folks.) So what your customer, you probably
wants and needs does the Rolex buyer satisfy by spend¬ shouldn’t be in the ad
ing 600% more? Hint: It’s really not about telling time. writing business at all.”
Here’s an exercise in thinking about wants and needs
—Leo Burnett26
versus things:

Don’t sell me insurance, talk to me about

Don’t sell me beer, show me_

Don’t sell me a car, tell me about_

Don’t sell me a soft drink, make me think about

Don’t sell me a house, talk to me about_

Don’t sell me perfume, make me feel_

k* yoy 'a fits#. f

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personal assessment «ut. |

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1.26. The headline reads, “Starch. Mortgages. Rush Hour. Are all found on land.” Boating isn’t about transportation. It’s about kicking
back and relaxing on the water. So rather than show a glamour shot of the boat, Four Winns chose to evoke a feeling of relaxation.
30 CHAPTER 1

Sources of
Information
(Don’t Just Take
Our Word for It)
Textbooks can provide only so much
information. As current as we try to
make this text, we’re bound to
miss some really important bit of
information that comes out just after
it goes to press. But you don’t have
Green is part of the dream,

to. Throughout this volume, we pro¬

mote some very good books that
h gives our kids courage to trap
Green
Cushions their faih. Softens the edges of our Inins.

are great sources of information. Welcomes our visitors with open arm.
is part of
Beyond that, you have access to
weekly and monthly publications
Green says tut’re commit fed to something.
the dream.
Something the whole neighborhood believes in. Something good.

about Advertising and creativity. Something the world, even on its best days.

Then there’s the Internet—an Could use more of

incredible resource you can use

For 75 ye3rs, Scot's'Tuff Builder* has helped make millions
to see student advertising, learn of lawns greensr. 8ac3it.se, (letter than any other fertilizer,

Scotts Tuif Builder feeds with the perfect blend of nutrients

about marketing trends, view classic grass needs to flourish. Ar,d American dreams need to grow.
iiirt'Builder.
Lwsnxmm* %

ads, download TV commercials, and For help building your dream, go to scotts.com

check out the latest award winners.

Dozens of new sites seem to pop up
every month. Check them out, and
bookmark the ones you find helpful. 1.27. “Talk to me about my lawn.” This ad from Scott’s is not
Here is a list of some useful and exactly about grass seed, but it’s more than a load of fertilizer.
interesting periodicals, Web sites, The first part of the copy is almost poetry: “Green is part of the
and books to get you started: dream. It gives kids the courage to leap. Cushions their falls. Softens
the edges of our lives. Welcomes our visitors with open arms. Green
Periodicals says we’re committed to something. Something the whole neighbor¬
hood believes in. Something good. Something the world, even on its
• Advertising Age
best days, could use more of.”
• Advertising Age Creativity

• AdWeek

• Archive

• BrandWeek

• CMYK Magazine

• Communication Arts

• One: A Magazine

Books

• A Big Life (in Advertising), by Mary Wells Lawrence

• Defining Advertising Goals for Measured Advertising Results, by Russell Colley

 COPY AND CREATIVITY 31

1.28.
Source: Illustration by Dan Augustine.

• Eating the Big Fish: How Challenger Brands Can Compete against the Brand
Leaders, by Adam Morgan

• Truth, Lies and Advertising: The Art of Account Planning, by Jon Steel

• Soap, Sex and Cigarettes: A Cultural History of American Advertising, by

Julian Sivulka

• The Art of Writing Advertising: Conversations with Masters of the Craft:

William Bernbach, George Gribbin, David Ogilvy, Leo Burnett, Rosser
Reeves, by Denis Higgins

• A New Brand World: 8 Principles for Achieving Brand Leadership in the

21st Century, by Scott Bedbury

• The Do-It-Yourself Lobotomy: Open Your Mind to Greater Creative

Thinking, by Tom Monahan

• Ogilvy on Advertising, by David Ogilvy

General Advertising Web Sites

• Advertising Age magazine: adage.com

• adflip (archive of classic print ads): adflip.com

• AdForum magazine: adforum.com

• AdWeek magazine: adweek.com

• BrandWeek magazine: brandweek.com

• CMYK Magazine: cmyk.com

• CommercialArts: comarts.com

Advertising Awards Web Sites

• International ANDY Awards: andyawards.com

• Cannes Lions International Advertising Festival: canneslions.com

32 CHAPTER 1

• Clio Awards: clioawards.com

• D&AD Awards (U.K.): dandad.org/awards

• Athena Awards (newspapers): athenaawards.com

• Radio-Mercury Awards: radiomercuryawards.com

University and Portfolio School Web Sites

• Adcenter, Virginia Commonwealth University: adcenter.vcu.edu

• Texas Advertising, University of Texas at Austin: advertising.utexas.edu

• Brainco: The Minneapolis School of Advertising, Designing, & Interac¬

tive Studies: braincomsa.com

• The Creative Circus: creativecircus.com

• Portfolios.com: The Online Source for Creative Talent: portfolios.com

• Portfolio Center: portfoliocenter.com

i,
]
Who’s Who?
In this and future chapters, you’ll see some “Words of Wisdom” floating around.
Who are the wise guys and gals we quote? At the ends of most chapters we
provide some very brief biographical sketches on some of the best-known voices
in advertising as well as other innovators featured in the “Words of Wisdom”
and “War Stories.”

Scott Bedbury—Scott Bedbury helped make Nike and Starbucks two of the
most successful brand stones of all time. Now one of the world’s most sought-
after brand consultants and speakers, Bedbury brings to his clients and audi¬
ences brand development practices that can help any enterprise strengthen its
business. He contends that a powerful brand has to transcend the features of a
product and create a personal and lasting relationship with consumers. Bedbury
wrote the modern guide to brand strategy, A New Brand World: 8 Principles for
Achieving Brand Leadership in the 21st Century.

Leo Burnett—Founder of the agency that still bears his name, Leo Burnett
established a new creative style of advertising along with many memorable char¬
acters still working today, including Tony the Tiger, the Jolly Green Giant, the
Keebler Elves, the Marlboro Man, and the Pillsbury Doughboy. Burnett ‘
believed that creativity makes an advertisement effective, but at the same time,
the creativity requires believability.

Jerry Della Femina—Founder of Della Femina Travisano & Partners, Jerry Della
Femina is one of the most creative and irreverent talents in the business. He
worked on such accounts as Isuzu (Joe Isuzu), Meow Mix (singing cat), Beck’s
Beer, Blue Nun Wine, Chemical Bank, Dow Brands (Fingerman), and Pan Am.
He sold his agency, became a successful restaurant owner, and then formed a new
 COPY AND CREATIVITY 33

agency that later merged with Ketchum. He wrote From Those Wonderful Folks
Who GaveYou Pearl Harbor and tons of award-winning, hard-selling ads.

Jef Richards—A professor of advertising at the University of Texas, Jef Richards

is a very innovative and creative educator who concentrates on advertising law
and regulation. He has also written extensively about visual communication,
advertising ethics, new technologies, and consumer comprehension/belief of
marketing claims.

Notes
1 Quote from University of Texas at Austin, Department of Advertising, http://advertising.
utexas.edu/research/quotes (accessed May 19, 2005).

2 Jerry Della Femina, From Those Wonderful Folks Who Gave You Pearl Harbor: Front-Line
Dispatches from the Advertising War (New York: Pocket Books, 1971), 256.

3 Quoted in Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (New
York: John Wiley, 1998), 17.

4 Wayne Weitten, Psychology Themes and Variations (Belmont, CA: Thomson Wadsworth,
2005), 255-56.

5 See the AAAA Web site at http://www.aaaa.org.

6 Quote from Born to Motivate Web site, http://www.borntomotivate.com/FamousQuote_

CarlAlly.html (accessed May 19, 2005).

7 Sullivan, Hey Whipple, 101.

8 Quote in Angela Partington, ed., The Oxford Dictionary of Quotations (New York: Oxford
University Press, 1992), 501.

9 Quote in Michael Jackman, ed., Crown’s Book of Political Quotations (New York: Crown,
1982), 2.
10 Quote from University of Texas at Austin, Department of Advertising, http://advertising.
utexas.edu/research/quotes/Ql00.html#Advis (accessed May 19, 2005).

11 Thomas O’Guinn, Chris Allen, and Richard Semenik, Advertising and Integrated Brand
Promotion (Mason, OH: Thomson, 2002), 13.

12 See Russell Colley, Defining Advertising Goals for Measured Advertising Results (New York:
Association of National Advertisers, 1969), 5.

13 Quote from University of Texas at Austin, Department of Advertising, http://advertising.

utexas.edu/research/quotes/index.asp (accessed May 19, 2005).

14 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/spivak.html

(accessed January 10, 2005).

15 George Felton, Advertising: Concept and Copy (Englewood Cliffs, NJ: Prentice Hall, 1993),
60; see also A1 Trout and Jack Ries, Positioning: The Battle for Your Mind (New York:
McGraw-Hill, 1981; repr. 2001).

16 Bruce Bendinger, The Copy Workshop Workbook (Chicago: Copy Workshop, 2002), 51.

17 Pallavi Gogoi, “Old Brands, Renewed Appeal,” BusinessWeek Online, December 21, 2004,
http://www.businessweek.com/bwdaily/dnflash/dec2004/nf20041221 _6747_db016.htm

(accessed May 19, 2005).

34 CHAPTER 1

18 Leo Burnett, 100 LEO’s: Wit and Wisdom from Leo Burnett (Chicago: NTC Business Press,

1995), 47.

19 Sullivan, Hey Whipple, 28.

20 Scott Bedbury, A New Brand World: 8 Principles for Achieving Brand Leadership in the
21st Century (New York: Viking, 2002), 20.

21 Sullivan, Hey Whipple, 28.

22 Bendinger, The Copy Workshop Workbook, 105.

23 Scott Bedbury, interview by authors, December 3, 2004.

lq See “Maslow, Abraham Harold,” in Microsoft Encarta Online Encyclopedia, 2005, http://
www.encarta.com (accessed May 19, 2005).

25 Daniel Starch, Principles of Advertising (Chicago: A. W. Shaw, 1923), 255.

26 Burnett, 100 LEO’s, 23.

I
>*
Getting Started

C ongratulations! Your agency was invited to pitch the Winslow Widget

account. Your job is to develop a creative strategy and build a
marketing communication campaign that will knock the socks
off the Winslow management. You really need this account, because if you dont
win, half of your agency will be laid off, including you.
Right now, you know nothing about the company, its
products, its customers, its competition, or its market. By
the way, you’ve got two weeks until the presentation. WORDS OF WISDOM

Once again, congratulations!

“When a client comes to us
The above scenario happens every day somewhere.
The good news is you’re invited to the dance. But there
with a product, he is, in
are very few “gimmes” when it comes to new business, effect, giving us a problem
and if you’re lucky enough to win an account, the to be solved.... Some of
euphoria quickly dissolves into the daily grind of keeping the biggest advertising
the business.
mistakes are made by
people who imagine they
know what the problem is,
Solving the or they're not even thinking
Client’s Problem about it; they're just coming
If you were working on the Winslow Widget account,
up with that brilliant idea
where would you start? The first thing to do is ask, and trying to force the
“What’s their problem?” Every client has a problem. problem to fit it
Otherwise they wouldn’t need to promote their prod¬
—Mary Wells Lawrence 1

ucts. Some clients state the problem as a broad objective,

such as “Sell more Widgets in the next fiscal year.” That’s
not the problem. The problem is: What’s going to make
it difficult to sell more Widgets and how can we over¬
come those difficulties? The client may tell you, but these may not be the only
problems. An even more challenging situation emerges when the client can’t
even identify the problem.
36 CHAPTER 2

A Curiously Strong Approach brand into other media. My partner, Art Director Noel

(Just Don’t Tell the Boss) Haan, agreed. Creative management at the time,

Andrew Meyer had a dream assignment—working on Leo however, was skeptical. The net result: We had no
Burnett’s incredibly successful Altoids account. However, money, and no permission from the powers that be to
sometimes it’s hard to convince others in the agency pursue new work along these lines. Of course, that
that you can make a good thing even better. Here’s his didn’t stop us. Noel and I secretly wrote scripts and
solution to solving a client’s problem (that the agency lined up a director and production company willing
management didn’t know existed): to foot the bill and shoot spec film for us. Manage¬
ment “didn’t want to know a thing about it”—until
When I began working on the Altoids campaign, the we surprised our client with a finished educational
original print and outdoor work had already been film parody campaign for Altoids Sours. And they
established as a perennially award-winning cam¬ loved it. They gave us more money to create more
paign. But as an outsider' it seemed apparent to me and better spots, and ran them on TV, the Web, and
that there was a missed opportunity to bring the cinema. Sometimes, risk does equal reward.

Get the Facts

The first step is gathering and organizing information. You have to answer the
basic questions listed in Table 2.1. Notice that these creative development
questions include some of the basic questions of journalism, such as who, what,
and why. Where and when are media questions, the answers to which may also
influence your creative strategy. For example, an ad in the Sports Illustrated
swimsuit edition may inspire a look that is far different from that of an ad in the
regular edition.

Where to look for information

Research can be divided into two basic categories: primary, where you gather the
facts directly, and secondary, where you assemble research done by others. We’ll
look at secondary research first, because that’s usually more accessible.

Table 2.1 Getting the Facts

Marketing Task What It Means

Define the target audience. Who are we talking to?

Identify features and benefits. What makes this product better?
Clarify the current position. What do people think about the product?
Align wants and needs with the product. Why should people buy it?
Determine the call to action. What do we want people to do?
 GETTING STARTED 37

Secondary Research
You can find a wealth of information about markets, products, and con¬
sumers. A lot of it is available for free on the Internet. However, most of the
really good stuff comes from subscription services. Most university libraries offer
the same information that costs companies thousands of dollars, although it is
usually slightly out-of-date. Buying current data is often prohibitively expensive.
One of the most commonly used sources is Simmons,
a multimedia research company specializing in market¬
ing information. The Simmons database encompasses
more than 8,000 brands, 400 product categories, all WORDS OF WISDOM
media venues, and the most detailed lifestyle descrip¬
"Our job is to bring dead
tions currently available. Simmons has evolved into
a multimedia research company with information on facts to life”
adults, teens, kids, and Hispanic consumers.3 —William Bernbach2
A quick search on the Internet will reveal hundreds
of other marketing research firms. One organization that
provides some great insight into consumer behavior is
SRI and its VALS marketing and consulting tool. VALS
categorizes consumers based on their lifestyles and income or “motivation and
“resources” (for more information, visit the SRI Web site at sric-bi.com/VALS).
Once you have identified your target market, you can start developing mes¬
sages that appeal to that segment. While VALS is extremely helpful for defining
a target market, never forget that you are writing to an individual, not a segment.
You can also find a lot of information on various government agency Web
sites. For starters, visit FirstGov, the U.S. governments official Web portal
(firstgov.gov) and use its search engine to find the information you need.
In addition, many clients belong to trade organizations that provide their
members with lots of great market information. Ask the client to share that with
you. You might also find some useful secondary research on the Web sites of the
client’s competition.

Primary Research
When primary research is mentioned, most people think of formal types
of research, such as focus groups and mail surveys, but this research can also be
very informal and personal. The following are just a few ways of conducting
primary research:

• Visit a store and see how your product is displayed. Check out the com¬
petitive products. How does the shelf appeal of your product compare?

• Talk to the salespeople, retailers, and others who sell your product. What
do they tell customers about it? Where do they place the product in the
marketplace?

• Sometimes it’s helpful to take a factory tour. However, you should be

aware that you’ll usually get the view of the manufacturer instead of the
consumer. Take the tour, but also see where and how the product is used.

• Review ads and other promotional materials for your product. Check out
the competition. Study their claims. Where are they weaker or stronger
compared to your product?
38 CHAPTER 2

• Read the publications your media department is considering. Watch the

TV shows they recommend.

• Talk to the people who buy your product. Why did they buy it? Would
they buy it again? If not, why not?

• Talk to people who considered buying your product but did not. Why
not? What would make them change their minds?

You can find people to interview in a number of places—stores, malls, sporting

events, trade shows, basically anywhere members of your target audience may gather.
You can conduct more formal research with focus groups of members of the
target audience. These groups, moderated by professionals, can explore attitudes
and opinions in depth.
Other types of research might include mass mailings of questionnaires and
telephone surveys.

Interpreting research findings

Funny thing about research—if it confirms the client’s opinions, it really wasn’t
needed;' if it contradicts the client’s opinions, it’s flawed. While the “facts” may be
gathered and presented objectively, the interpretation is
highly subjective.
Sometimes research reveals information about some¬
thing you’re not even measuring. For example, a survey
for a business-to-business client revealed a strong negative
"The overquantification of
opinion of the brand in the Southeast. Why did they
business is removing any love the brand in Ohio but hate it in Georgia? The client
sense of personal considered running some image ads in the South to
accountability for mistakes. build a more favorable opinion. Further investigation
revealed that the problem was not with the brand, but
It’s much easier to blame a
with the person selling it. In this case, no amount of
focus group in Des Moines for brilliant advertising could solve the problem. A quick
approving an unremarkable or realignment of the sales force did.
boring commercial than to take Another observation we can offer based on our years

personal accountability ” of gathering information and testing concepts: Clients

focus on verbatim comments rather than numbers. They
—Scott Bedbury4
pay attention to a few video interviews rather than a
mountain of statistics. Clients, like consumers, want to
see and hear real people. They may analyze all the facts
and figures, but a few memorable quotes usually help
them form opinions. Knowing how clients respond to research can put the
agency in the driver’s seat.

Who is the target audience?

Who are you talking to? Your client may tell you. Your account planner should
tell you. Your secondary and primary research will tell you. If you’re lucky, the
marketing objectives will be very specific, such as 35—65-year-old married men,
living in the top 10 markets, earning $100,000 or more. Usually, though, the
client tells the creative team about the product. Period. Its up to the agency to
find out who is most likely to buy it and why. Unless you know who’s buying
 GETTING STARTED 39

the product and why, your creative strategy will be a classic example of “ready-
fire-aim” planning. You need to find out:

• Who’s buying the product now and why?

• Who is not buying the product and why not?

Outside/in the product

The object of your effort may not be a tangible product at all. It may be some¬
thing you can’t hold in your hand, like the local bus company, an art museum, or
a government agency. It may be about corporate image—a campaign that pro¬
motes the integrity or strength of a company, but doesn’t highlight products.
Good examples are utility and telephone companies and multinational megafirms
like General Electric. You could also develop creative for an organization such as
the American Cancer Society or Amnesty International. For the sake of simplic¬
ity, we will call the object of promotion the product no matter what it may be.

From the Inside: Features

Products have characteristics and personality traits, just like people. By them¬
selves, these features are not good or bad. They’re just there. That’s why listing
product features without putting them in the context of a benefit to the cus¬
tomer usually wastes time and space. Sometimes the benefit is so obvious the
reader or viewer will make an instant connection. But other times, writers just
include lists of features and hope someone will figure out why they’re important.
On a luxury car, for example, features can be technical, such as a GPS naviga¬
tion system; functional, such as side curtain air bags; or aesthetic, such as

2.1. This ad for Reebok is not selling mall walking shoes to seniors. While it resonated
with the intended market in Slam magazine when it was introduced, ideas about who’s
“Fabulous” and “Classic” change almost daily.
40 CHAPTER 2

Table 2.2 The Relationship between Features and Benefits

Feature Benefit Wants and Needs

Contains fluoride Prevents tooth decay Saves money, saves time

Automatic shutoff Shuts off unit if Safety, saves money,

you forget convenience

Electronic ignition Easier starts in Convenience

cold weather

Slow release of nutrients Greener plants, Aesthetically pleasing,

more flowers convenient

brushed aluminum console trim. In most cases, the more technical and abstract
the feature, the greater the need to tie it to a benefit to the consumer.

From the Outside: Benefits

Not all products have features you can promote, but all have benefits. A ben¬
efit leads to the satisfaction of a consumer’s wants and needs. “Cool, crisp taste”
is a benefit (it quenches thirst and tastes good). “Firm, smooth ride” is a benefit
(it pleases the senses and gives peace of mind). “Kills
99.9% of household germs” is a benefit (you’re protect¬
ing your family).
Anyone can write a feature ad. Ail you need is a spec
list. As a writer, you have to translate those features into
"Provide a benefit... you’re
benefits that resonate within the customer. Sometime it’s
not making wallpaper; you’re as simple as listing a feature and lining up a benefit.
making advertising.” That’s the old FAB (/eatures-rzdvantages-^enefits)
approach used for years in industrial brochures. However,
—Phil Dusenberry5
if you want to blast off from Planet Schlock, you’ll think
of more subtle and clever ways to promote the benefits.
As we’ll discuss shortly, you should think in terms of
an overriding benefit. Remember the adjective you need
to tack onto the brand name. If that adjective is positive, such as economical, styl¬
ish, effective, safe, or powerful, you’ve established an overall benefit.

Features and Benefits: Know the Difference

Beginning writers have a hard time separating features from benefits. Too
many times their ads include features and benefits lumped together in a dis¬
jointed stream of consciousness. The examples in Table 2.2 show how features
lead to the benefits, which lead to satisfaction of wants and needs.

Assembling the Facts

You ve gathered a lot of information. Now it s time to organize it into something
you can use. Below we describe three basic ways to organize this information:
the copy platform, the creative brief, and the consumer profile.
 GETTING STARTED 41

Copy platform
The copy platform is also known by several other names, including the creative
strategy statement. It can be as simple or as detailed as you like. No matter what
you call it and how complicated it can be, a good copy platform should cover the
product’s features/benefits, competitive advantages/weaknesses, information
about the target audience, the tone of the message, and a simple, overriding state¬
ment about the product. We call the last of these the One Thing. It could also be
called the central truth, the unique selling proposition (more on this later), the big
idea, or the positioning statement.
In Chapter 1, we discussed attaching an adjective to a brand. The best way
to develop that connection is to finish this sentence:

“If you could say just One Thing about this product, it would be_

It’s not an easy sentence to complete. When we begin working with new clients,
we sometimes ask them to complete that statement. You’d be surprised how
many times they struggle with their answers. The most common response is,
“Gee. Nobody really asked that before. It’s really so many things. I can’t think of
just one.” Then they provide a laundry list of features. No wonder they needed
a new agency!
You’ll find an example of a copy platform in the appendix to this volume.
The example is a composite of several forms used by different agencies. Each
firm has its own way to organize the information in a copy platform, but the
format in our example does a pretty good job most of the time.
To summarize, you need a copy platform for the following reasons:

• Provide a framework for your ad: In the copy platform you have all
the basic facts about the target, the product, the competition, and
the marketplace. If you have some blank lines, you know you need
more information.

• Identify the One Thing that’s most important: You could include a position
statement. Or the single adjective to attach to the brand. Or you could
write a long sentence that describes what you want
the consumer to believe about this product.

• Support that One Thing with believable informa¬

tion: You could list features and benefits that sup¬
"Our best work has always
port product claims. In the case of a copy-free ad,
begun with a marketing
only the visual supports that overriding image of
the product. solution, not a creative
solution. The ads flowed
• Connect people with the product: In your copy
platform you should ask, What do you want
from the strategy, not the
the reader/viewer/listener to do? What is the strategy from the ads."
desired “conviction and action” step? Do you want —Jay Chiat6
the reader/viewer/listener to take a test-drive?
Ask for more information? Visit a Web site? Or
do nothing?
42 CHAPTER 2

• Organize the client's thoughts: A good copy platform is a collaborative

effort between client and agency. The client can provide a lot of informa¬
tion, and together you can clarify and prioritize it. This should not be done
by a large committee—at least not by a committee larger than one or two
people per client and agency. When the copy platform is completed, both
the agency and the client have the same road map for creative strategy.

• Justify your creative decisions: If the client has signed off on the copy
platform, he or she will be less likely to criticize your creative efforts if you
can prove you’re on strategy. If the client says you’re off target, you can ask
where and why, based on your collaboration on the copy platform.

Creative brief
A creative brief may be prepared from a copy platform or directly from the
assembled information. Compared with the copy platform, the creative brief
describes a more linear progression, from where you are to where you want to be
and how you will get there. The strategy is more clearly defined in the creative
brief th^n in most copy platforms. One of the best creative brief formats we’ve
seen is the one used by Virginia Commonwealth University’s Adcenter. The

Sample Creative Brief on others to pick up this item, so this will be a

The following is a sample creative brief written by brand-new purchase for them.
a student for Q-Tips:
What do we want them to think?
What do we want to accomplish? We want to instill a brand image into their minds,
The main objective of my campaign will be to when they walk into a grocery store for personal care
introduce Q-Tips Cotton Swabs to the next products; we want them to think Q-Tips. We want
generation of adults, showing them the many uses them to pass over the generic products and choose
as well as the quality that distinguishes Q-Tips Q-Tips because Q-Tips are a personal product as
Cotton Swabs over the generic competition. well as a practical one.

Who are we talking to? Why should they think this?

We are speaking to people who value a good product Because Q-Tips will be presented in a very edgy and
and want the best. More importantly, we are targeting fun way, we will be able to connect to our audience.
the emerging twenty-something crowd to sway their This will carry over to the point of purchase and
future buying habits. influence their buying habits. We want them to realize
the importance of taking care of themselves with the
What do they think now?
highest quality of cotton swabs.
The majority of our new audience is indifferent to
Q-Tips Cotton Swabs. They consider this a very What is our message?
menial purchase and usually pick the cheapest Q-Tips Cotton Swabs are a personal item with
package on the rack. They have always depended practical applications.
 GETTING STARTED

questions are very simple, but if you answer them correctly, you’ve got just about
everything you need to know to start concepting an ad:

• What do we want to accomplish? (objective)

• Who are we talking to? (target audience)

• What do they think now? (current position)

• What do we want them to think? (reinforce position or reposition)

• Why should they think this? (features/benefits)

• What is our message? (How do we say it and show it—what is the

One Thing?)

Consumer profile
The consumer profile takes the copy platform and creative brief a step farther by put¬
ting a human face on the target audience. Think of journalisms “five Ws” in terms
of the consumers: Who are they? What are their wants and needs, their buying inten¬
tions, their attitudes toward the product and competitors? What do they do for a liv¬
ing? What are their hobbies? Where do they live and work, and how does that affect
their buying patterns? When are they planning to buy? When do they watch TV or
use other types of media? Why should they consider your product or a competitors?

Meet Maria After work and dinner at home with the family,

Maria Sanchez is a modern 35-year-old working mom Maria usually reads the mail and watches her favorite

with a husband and two children, ages 5 and 8. She TV programs—Survivor, Will & Grace, and Law &

graduated from the University of Illinois with a degree Order. She rarely has time to read the newspaper,

in management, which helped her get a job in the except on weekends, when she relaxes with the

human resource department of a large insurance Sunday Chicago Tribune. Maria and Carlos subscribe

company in Chicago. She has steadily advanced to to Time, Chicago, and Midwest Living, but they

become assistant department manager. She earns seldom read every issue.

$65,000 and expects to continue moving up the Maria and Carlos live in a four-bedroom home in

corporate ladder. Her husband, Carlos, is a sales Hoffman Estates, which is a 45-minute commute

representative for a large manufacturing firm. one-way (when traffic is moving). Maria loves her job,

His income varies greatly from year to year, but the stresses of caring for a family, commuting,

so Marias large and stable income is extremely and the usual pressures of a human resources depart¬

important to their family. ment can sometimes trigger a migraine headache.

In her spare time, Maria likes to ride her bicycle, With her busy schedule, Maria can’t take time off

play tennis, and shop. She and Carlos enjoy traveling, from work and family when she has a migraine. The

with and without the kids. They try to set aside at increased frequency of her migraines creates even

least one weekend a month as “date night’ to more stress, but she doesn’t have time to visit a doctor
or make an extra trip to the pharmacy.
recharge their marriage.
44 CHAPTER 2

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2.2. Get to know the person to whom you’re writing. Instead of telling him about
allergy medicine, show him what he’d rather be doing without allergy symptoms.
“I notice increasing
reluctance on the part of
Based on the demographic, psychographic, lifestyles
marketing executives to and values, and other research, a consumer profile puts
use judgment; they are some flesh on the bare bones of the copy platform. You
coming to rely too much might consider summarizing the demographics in the
first paragraph of your consumer profile and describing
on research, and they use
the psychographics in the second paragraph, while you
it as a drunkard uses a weave the lifestyles and values information through the
lamp post for support, rather whole profile.
than for illumination ” The example of a consumer profile on page 43 was
written by a student to describe the ideal prospect for
—David Ogilvy7
Excedrin Migraine.
From this profile we know that an advertiser can
reach Maria through radio (drive time), billboards
 GETTING STARTED 45

(along her commute), direct mail, television, and, in a

more limited way, newspapers and magazines. The
approach must be intelligent (she’s smart and successful)
and to the point (she doesn’t have a lot of spare time).
"You must make the product
The benefit of a nonprescription remedy without a doc¬
tor’s visit may be the main selling point. interesting, not just make
In the end, you have to use judgment. The ad will not the ad different. And that’s
write itself based on a compilation of facts. Sometimes a what many of the copywriters
great creative idea stems from a minor benefit and blooms
in the U.S. today don’t yet
into a powerful image that drives a whole campaign. Our
advice: Get the facts and use them, but don’t be a slave understand
to data. —Rosser Reeves8

So what?
When you see a feature or even a rather vague benefit, be
sure to ask, So what? What does that feature do for the consumer? Keep asking
“so what?” until you get to the benefit that satisfies a basic want or need. Think
about the questions you’d ask if you were buying something. You may not always
get something you’d include in the body copy, but if you keep probing, you
might get an idea for a whole campaign. For example:

Dove soap is one quarter cleansing cream.

So what?
It’s creamier, less harsh to the skin.
So what?
Your skin looks younger, less dry.
So what?
You feel better about yourself.

Now you’ve got a hook. Don’t tell her about your soap, talk to her about feeling
young, beautiful, free, and sexy.
Put yourself in the target customer’s shoes. As Luke Sullivan says: “Ask your¬
self what would make you want to buy the product? Find the central truth about
the product. . . hair coloring isn’t about looking younger. It’s about self-esteem.
Cameras aren’t about pictures. They’re about stopping time and holding life as
the sands run out.”9

Tone
You know what you want to say, now you have to figure out how to say it.
Whether you create a formal tone statement or just think about it, you really do
need to define the tone of your creative effort.
In this po-mo era, the tone of many ads smacks of irony, inside jokes, and a
hipper-than-thou attitude. Sometimes the message is so abstract you risk con¬
fusing or alienating 99% of the audience to connect with that critical 1%. That’s
fine for Skyy, but don’t use that tone for Welch’s Grape Juice.
As with everything else, you have to know the target audience from the
outside/in. Then find the right tone to communicate your message.
46 CHAPTER 2

2.3. This Winston smoker said, “Yeah, I smoke. What are you gonna do about it?”
Rather than justifying smoking or even saying why Winston tastes better, this ad
challenges anyone to criticize Winston smokers.

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2.4. Another look at smoking, this time with a quite different tone. A mom dying of
emphysema says goodbye to her family.
 GETTING STARTED 47

2.5. The “Call to Action” should grab the viewers’ attention.

Source: Illustration by Dan Augustine.

Call to action: What do you want them to do?

You need to expect some kind of outcome from your advertising. What do you
want to happen, aside from immediate and colossal sales? Depending on the
type of product, the purchase cycle may take seconds or years. Promoting an
impulse item like a pack of gum doesn’t require much of a call to action.
Everyone knows what it is and where to buy it. But if you’re considering a
car, you need more information. So the call to action in the ad would include a
Web site address, a toll-free phone number, an invitation to take a test-drive,
a suggestion of a visit to the friendly dealer, and the option of sending for a
free brochure.
The main idea is to connect the reader, viewer, or listener with the advertiser.
Make it easy to get more information if it’s needed. If personal selling is critical
to a purchase, find a way to connect the prospect with the salesperson. Making
these connections can take the following forms:

• Web site address

• E-mail address

• Reply card

• Toll-free phone number

• Coupon (for the technologically challenged)

• Invitation to visit the store/retailer

• Invitation to take a test-drive

48 CHAPTER 2

Putting It All Together

You’ve done your homework on the audience, the product, and the competition.
Now you’re ready to talk to a prospective customer. Imagine you’re talking to a
neighbor over the fence instead of writing an ad or a TV spot. Could you tell
him or her the One Thing to know about your product? Could you give reasons
that support that One Thing? Do you have answers to your neighbor’s objec¬
tions or misconceptions about your product? Could you convince that neighbor
to seek more information or to visit a store to compare or just buy the product?
It’s all about making a personal connection. Here are a few samples:

• Objective: Introduce new category of car—crossover utility vehicle

• Type of product: Considered purchase, high-involvement durable good

• Target audience: 20-30-year-old women in top 25 markets,

$25—50K income

• Possible creative strategy: Use lots of pictures to show features, styling,

captions to explain benefits (dependable, lots of space, mileage)

• Tone: Convey fun, independence, adventure

• Objective: Reinforce established brand of computer

• Type of product: Considered purchase, very high-involvement

technical product

• Target audience: 25—45-year-old creative professionals

• Possible creative strategy: Show side-by-side comparisons to competition;

use screen displays instead of copy, bullet points of specs/features

• Tone: Peace of mind (Aren’t you glad you have this one?), superior attitude
(Don’t you feel smarter than the people who bought the competition?)

• Objective: Encourage contributions to animal rights group

• Type of product: Emotional issue, high involvement for select few

• Target audience: 18—64-year-old women

• Possible creative strategy: Show animal suffering in lab tests, long copy
telling story of animal and how you can help

• Tone: Emotional, urgent, call to action (send money)

• Objective: Promote new identity for manufacturer of heating system

components

• Type of product: Highly technical products, selected by price,

specs, reputation
 JL

GETTING STARTED 49

• Target audience: Design engineers at 250 original equipment manufac¬

turer (OEM) companies who specify components to be used in building
complete systems

• Possible creative strategy: Feature logo and slogan, tie in photos of prod¬
ucts and/or applications

• Tone: Professional, helpful, friendly

• Objective: Introduce new style of brace for arthritic knees

• Type of product: Considered purchase, high involvement

• Target audience: 45-80-year-old men and women with arthritis

• Possible creative strategy: Position as alternative to surgery and drugs,

show active seniors, possible testimonials or before/after photos

• Tone: Create peace of mind (postpone surgery, relieve pain, resume

active lifestyle)

Who’s Who?
William Bernbach—Although he was the third name in Doyle Dane
Bernbach, there was no doubt who was in charge of the creative process. Bill
Bernbach revolutionized advertising from the late 1950s through the 1970s,
suggesting that advertising is an art and not a science, with groundbreaking
campaigns for Volkswagen, Alka-Seltzer, Polaroid, Avis, Orbach’s, and many
others. His simple yet sophisticated commercials generated huge sales for
his clients as they wove their way firmly into the popular culture. Doyle
Dane Bernbach not only changed advertising forever, it also spawned many
of the creative superstars of the 1970s, 1980s, and 1990s who formed their
own shops.

Mary Wells Lawrence—While CEO, chairman, and president of the legendary

Wells, Rich and Greene agency, Mary Wells was the highest-paid, most well-
known woman in American business. She was also the first female CEO of a
Fortune 500 company. Her innovative campaigns for Braniff, Alka-Seltzer,
Benson & Hedges, and American Motors brought a fresh new look to estab¬
lished brands. At age 40, she became the youngest person ever inducted into the
Copywriters Hall of Fame (until Ed McCabe several years later).

G. Andrew Meyer—Andrew Meyer has created advertising campaigns that

have been recognized by the Kelly Awards, the ANDYs, the Art Director’s
Club, Communication Arts Advertising Annual, the One Show, the British D&AD
Awards, the Clio Awards, and the OBIEs, among others. Meyer came into adver¬
tising as a designer and art director, eventually morphing into a copywriter before
becoming executive creative director at Leo Burnett in Chicago.
50 CHAPTER 2

Rosser Reeves—As chairman of the Ted Bates agency, Rosser Reeves originated
the concept of the unique selling proposition, or USP, which dominated adver¬
tising strategy until the Creative Revolution of the 1960s. His no-nonsense tech¬
nique of hammering a single message home was very effective in turning features
into benefits consumers could easily understand.

Notes
1 Mary Wells Lawrence, quoted in Vogue, February 15, 1972.

2 William Bernbach, Bill Bernbach Said. . . (New York: DDB Needham Worldwide, 1989).

3 See the Simmons Market Research Bureau Web site at http://www.smrb.com.

4 Scott Bedbury, interview by authors, December 3, 2004.

5 Quote from the Clio Awards Web site, http://clioawards.com/html/wsj/dusenberry.html

(accessed December 20, 2004).

6 Quote from the Clio Awards Web site, http://clioawards.com/html/wsj/chiat.html

(accessed'December 20, 2004).

7 David Ogilvy, Ogilvy on Advertising (New York: Random House, 1985), 166.

8 Quoted in Denis Higgins, The Art of Writing Advertising: Conversations with Masters of the
Craft: William Bernbach, George Gribbin, David Ogilvy, Leo Burnett, Rosser Reeves (New York:
McGraw-Hill, 2003), 125.

9 Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (New York: John
Wiley, 1998), 35.
Issues in a Changing
Marketplace
W e’re all the same . . . only different. Look around. Does everyone
look like you?
Until the late 1960s, advertisers must have thought everyone in the United
States was a straight, uptight, well-dressed white suburbanite. Because that’s all they
showed in their ads. It took time, but marketers finally discovered that African
Americans actually own homes. Women buy cars. Gays and lesbians like vacations.
People who don’t speak English as
their primary language still know
that money talks. Integrating adver¬
tising was not only the right thing, it
was the smart thing.
As of 2005, one in every three
Americans is a person of color.
Women make up 51% of the total
population, with 40-64-year-old
women representing the single
largest U.S. market segment.1
Another demographic shift is the
aging of America. The generation
that created the youth culture of the
1960s is shifting not so gracefully
into retirement. All these groups 3.1. Who’s the prisoner here? Or is this ad saying we’re all pris¬
and many others have special wants oners to racism? This is one of a series of ads from Benetton that
and needs, and smart advertisers will got people talking—and thinking—about issues more important
find ways to address them. than clothes.
Today, it’s not a question of
whether to appeal to multicultural
audiences and specialty markets. It’s more a question of how to do it. How do
we show people of color and special target market segments in our ads without
using stereotypes? If we avoid the obvious, do we deny their identities? Can we
keep it real without alienating other audiences?

51
52 CHAPTER 3

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magnificent scenes splashed with color, homes of
exotic tribes and wondrous wildlife.

YOUR TRAVEL AGENT WILL TELL YOU . . .

how comfortably and pleasantly you can travel
to South Africa by sea and air, how modern
travel and hotel facilities can contribute
so much to your enjoyment. Plan with him
your trip of a lifetime!
Beautifully illustrated literature may be obtained
Old VIRGINIA
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3.3... . Imagine the reaction these

ads would provoke today.

Advertisers also need to be responsive to a

cultural shift that suggests many people see
themselves as multiethnic or multicultural. In
fact, in the last U.S. Census, more than half of
the people who identified themselves as “black
in combination with at least one other race”
were under 18 years old.2 New magazines such
as Mavin and Fader celebrate cultural diversity.
This trend will undoubtedly continue to grow.
Some of the hottest models today have an
indefinable ethnic look. Tiger Woods is a great ,
example of a celebrity who chooses to define
himself as multiethnic, refusing to be catego¬
rized as African American or Thai or Asian
3.4. You can call Tiger Woods an incredibly American, ethnicities that define his parents.
gifted golfer, a multimillionaire, or a very savvy Woods embraces his multicultural heritage and
businessperson. But don’t call him an African Asian fully expects advertisers who hire him to do
American, because he doesn’t accept the labels that the same. How will postmodern conceptions of
might define his parents. identity influence the way you define and speak
to your target audience?
 ISSUES IN A CHANGING MARKETPLACE 53

It’s All There

in Black and White
As advertising began to integrate in the late 1960s,
the trend was to make African Americans look like
“dark-skinned white people. ” If they look “just like
us,” they’ll want to drive a Buick, eat at Denny’s,
and get their dishes clean with Lemon Joy. In real¬
ity, back then even white people in ads didn’t look
like real people. While some African Americans
were happy to finally be represented in mainstream
advertising, others resented the lack of realistic
models, situations, and limited media placements.
Ad professionals such as Thomas Burrell, founder
of Burrell Communications, the largest African
American ad agency in the United States, and A1
-

Anderson, founder of Anderson Communication,

This is when you want something more than a soft drink.
Inc., have long argued “blacks aren’t dark-skinned Nothing soft about the taste of Coca-Cola... lifts your spirits- boosts your energy.
things go
whites.”3 Forty years ago, before minority-owned better,!
^with ,
agencies existed, the industry really lacked for mes¬
sages that reflected cultural experiences beyond a
Coke
white world. Today, according to Anderson, the multi 3.5. 1965: Even the cars were white.
in multicultural marketing has gotten a bit blurred:
“Last time I checked, all marketing is targeted at
somebody. Now how you construct this young,
black, Latino, Asian person, I don’t know. I’ve never
met one of these folks.”4 Reaching multicultural
audiences means creating a connectivity between the
message and the audience, and using all avenues of
integrated marketing to deliver that message. For
Burrell and Anderson, success has come by tap¬
ping into the unique cultural experiences of African
Americans and slipping that message into channels
that resonate with their audience.
Just how much are African Americans repre¬
sented in advertising today? Of all ethnic groups,
African Americans have the highest representation
in mainstream magazines ads. Yet only 14% of the
ads in mainstream magazines feature diverse groups
of people. Does the advertising industry really
embrace the diversity reflected in American culture?
Although some brands, including Skechers, Maxwell
House, and Toyota, have been at the forefront of
3.6. Today: Coke learned to use more colors
multiethnic marketing trends, this is not necessar¬
than red.
ily the norm. When it comes to television, African
Americans make up 36% of the models in spots
running during prime time. Many of these ads feature celebrities such as
Dominique Wilkins (tortilla chips), Venus and Serena Williams (Wrigley’s gum),
and Ken Griffey, Jr. (Pepsi).5One could argue that because these people are
54 CHAPTER 3

3.7. A revered organization fuses a cele¬ 3.8. Does this portrayal of a black 3.9. This product is targeting young
brated tagline (“A mind is a terrible thing worker stereotype African Americans as men. When you can put yourself in the
to waste”) with powerful imagery in blue-collar laborers or merely show a same situation, it doesn’t matter what
an award-winning campaign created by rugged guy who needs tough boots? color you are.
Y&R, New York.

major sports figures, their celebrity transcends race. But consider this: Overall
advertising budgets targeting African Americans increased 67% from 1997 to
2002.6 What’s really happening here?
The African American population is expected to grow at twice the rate of
European Americans in the next 20 years. Further, African Americans are younger
than the general U.S. population, with a median age of 30, and nearly half live in
married households.7 In all, 53% of African Americans live in the South. Yet the
largest concentrations of African Americans are found in nonsouthern DMAs:
New York, Chicago, Los Angeles, Philadelphia, and Washington, D.C. Don’t
assume they all live in cities. In fact, 39% live in the suburbs.8

Tapping into the

African American market
• Community involvement is a huge part of life for
"You know why Madison African Americans. Consider using IMC elements *
Avenue advertising has never to enhance the reach of your campaign.

done well in Harlem? WeVe the • Women play a prominent role in family life. Don’t
only ones who know what it underestimate their influence or their buying
means to be Brand X” power. African American women have the highest
spending power among women of color.9
—Dick Gregory10
• Avoid using slang. It’s often insulting.

• African Americans’ preferences, habits, and atti¬

tudes reflect a broad range of sensibilities.
 ISSUES IN A CHANGING MARKETPLACE 55

McReality neighborhood, a voice-over conversation pointed out the

For many years, I was creative director at the world’s noticeable changes in his personality and behavior. At

largest African American agency, where McDonald’s the end it is revealed that he has been employed by the

was one of our major clients. In the late 1980s, when Golden Arches. Some members of McDonald’s Marketing

McDonald’s was changing its theme line, yet again, I Department tried to kill it (too street), but the big kahuna

decided to jump into the “here and now.” I asked my cre¬ loved it. Calvin was an immediate hit with consumers, as

ative group to come up with something that reflected well as the owners and operators of McDonald’s, so we

modern reality. The result was two spots that pushed the did a series of commercials with him as the hero. When

envelope. “Momma’s Date” addressed a divorced (or wid¬ we finally bid good riddance to Calvin, we thought he

owed) mother who was getting back into the social swim, was history.
Two decades later, Calvin resurfaced on Chappelle’s
much to her young son’s chagrin. He was totally disap¬
Show. In a devastating send-up, Calvin [played by Dave
proving until the gentleman caller treated them to a visit
Chappelle] gets a job at “Wack Donald’s.” At first he is the
to McDonald’s, where the son ran into his classmates,
pride of the neighborhood, but things rapidly go down¬
including a little cutie pie. (I had to respond to a letter
hill. Chappelle’s series of spoofs mirrored the original
that accused us of promoting juvenile sexual promiscu¬
Calvin’s progression, so it had to have made an impres¬
ity. Go figure.)
sion on him. (I wonder if he got turned down for the role.)
The other spot, “Second Chance,” introduced Calvin,
—Anna Morris
an ex-juvenile delinquent. In his walk through the

• Media matters. Eight out of 10 African Americans are heavy magazine

readers—and that’s more than the U.S. average.11 But television is
also important.

• Fashion is often a form of personal expression for African Americans.

^Como Se Dice Diversity en Espanol?

Today more than 32 million Latinos live in the United States, representing
Mexico, Cuba, Puerto Rico, the Caribbean, and Central and South America, not
to mention the blended Anglo-Latino cultures along the border from California
to Florida. Look at the differences between the English spoken in the United
Kingdom, the United States, and Australia, then multiply that by the 19
countries that speak Spanish, and you’ll realize you can’t treat this market as one
group. For example, an exterminator in Mexico will remove your bichos (bugs),
but the same word in Puerto Rico refers to a man’s private parts.12
You have to do more than just find the right slang. You have to understand
the culture. Here are some examples:

• A Coca-Cola ad may use the slogan “y su comida favorita” (“and your favorite
food”), but for Miami Cubans the ad shows pork loin, for south Texas
Mexicans it’s tacos, and for New York Puerto Rcans they use chicken and rice.
56 CHAPTER 3

• When McDonald’s first developed a series of

“Hispanic ads,” they considered all Hispanics the same
until they received complaints from Puerto Rico that
the ads were “too Mexican.”
"The challenge is to keep
• A telephone company tried to market its
the flame burning, the flame
to Latinos by showing a commercial in which a Latina
of communicating to the wife tells her husband to call a friend and tell her they
Hispanic market in the would be late for dinner. The commercial bombed
language of their heart ” since Latina women generally do not give orders to
their husbands and their cultural concept of time
—Tere Zubizarreta13
would not require a call about lateness.14

• When translated literally into Spanish, the famous “Got

Milk?” slogan means “Are you lactating?” Fortunately,
the California Milk Board realized this before it was launched. The new
slogan, “Familia. Amor. Leche” (“Family. Love. Milk”), not only avoids the
problems of the literal translation, it also fits the culture better. Although
Anglos might find the concept of milk deprivation funny, a Latino audi-
enfce would consider it insulting. Running out of milk means not provid¬
ing for your family.15

Digame mas (tell me more)

As of 2005, Latinos outnumber African Americans in the United States, and
they’re a young audience. The median age of Latinos is 27, and one in three is
under 18. Latinos tend to live in urban areas, but you’ll find small communities
popping up in unexpected places. Los Angeles, Miami, Chicago, and many cities
in Texas have large, vibrant Latino communities. As you might expect, the
Spanish language is a big part of their cultural experience. Half of all adult
Latinos speak Spanish at home. According to Louis Nevaer, bilingual Latinos are
influenced more by advertising in Spanish than by advertising in English.
Needless to say, Spanish language media is hot! And so are multicultural ad agen¬
cies, where Latino agencies account for more than 60% of the total revenues.
African Americans might be big readers of magazines, but Latinos are huge con¬
sumers of television, with more than 63% of media buys going to television and
a mere 11% going to print. Univision and Telemundo are the top two Spanish-
language networks. In all, Latino purchasing power is a whopping $581 billion
annually. Procter & Gamble, Sears, and General Motors represent the top three
advertisers in Latino media.16 But when it comes to creativity, Citibank and its
agency La Comunidad are big winners. Why? Because Citibank’s first foray into
Spanish-language creative spoke with strong cultural resonance of the immigrant
experience and the pursuit of the American dream. Citibank and La Comunidad ,
struck gold at the Advertising Age 2004 Hispanic Creative Advertising Awards.
More important, their integrated Spanish-language campaign generated a
growth in new business of 169%.17

Tapping into the Latino market

• Family-focused activities are a central element of Latino life, and it’s not
uncommon for multiple generations to share the same household. For
Latinos, familial concerns often trump individual needs.
 ISSUES IN A CHANGING MARKETPLACE 57

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3.10. Translation: “Eliminates grease—with the new formula 3.11. Translation: “The only thing worse than losing a child to
removing grease is easier.” Notice the sensuous curve of the AIDS is to discover that it could be avoided.” The power of lan¬
stacked plates. Does it remind you of anything? guage is apparent in this ad concerning pediatric AIDS, and it
transcends cultures.

• Spanish is often spoken rapidly, at least to the ears of English-only speak¬

ers. But don’t feel like you have to cram in more words. Rather, consider
this a cultural variation.
• Everyday life is a bit slower paced within Latino culture. Family-centered
obligations often supersede outside commitments.
• Music is a big part of Latino life, and it often blends mainstream American
culture with a multitude of Latino sensibilities. Consider the fact that
American Idol is the top English-language TV program among Latinos.
• While the majority of Hispanic television originates in Mexico, Latino
culture is far more diverse. Considering the specific heritage of your
Latino audience will make for a more resonant campaign.
• Latinos are Web savvy, but few Web sites use Spanish. How can you use
the Web to your strategic advantage when reaching out to Latinos?18

In our discussions with Iliana Aleman, we discovered the debate over what to
rail Latin Americans is still raging. She told us that a recent poll indicated about
65% prefer to call themselves Hispanic, which is how the business world identifies
the target audience. She said Hispanic is accepted primarily by older, more estab¬
lished residents in the United States. Younger, more liberal types prefer Latino or
Latina, which is less corporate and more personal. Overall, though, people prefer
to identify themselves by their countries of origin. They are more likely to be
proud of being Chicano or Argentino or Cubana than of being “Hispanic.”19
58 CHAPTER 3

Hispanic Hyperreality phone greeting: “Hola” From there on everyone

Iliana Aleman at BVK/MEKA, a Hispanic advertising had a say, visiting clients opined . . . “Buenas,”

agency in Miami, explains that there is no single “Digame,” "Si." It was Babel.

Hispanic culture, but rather a “hyperreality” that blurs

the difference between the symbolic and real: A little later, the client called to “remind” us that
we should use the proper Mexican “dialect” for the
Hispanic is really just a marketing term coined by West Coast and “generic” Spanish for the rest.
the advertising industry in the U.S. This hyperreal That’s exactly what we did. We created a pun for
market lumps together people of Latin American the West Coast version where one character
and Spanish heritage under one “ethnic” classifica¬ answered the phone by saying “^Bueno?” (“Good”)
tion, when in fact the 19 Latin groups under the and the caller replied, “Bueno no, buenisimo” (“Not
Hispanic umbrella can be drastically different from only good, but very good”). We sent a creative
one another. ? rationale explaining that literally bueno means
One of our clients, a top telecom, was launching good, but that in context it really means hello. That
a new international calling plan for mobile phones. it was a play on words to introduce the retail mes¬
Another opportunity to practice those hyperreal sage (great prices), etc., etc.... of course. She never
Hispanic Spanish skills, right? got it. The cultural divide was insurmountable. On
I started by asking Sandra, a Mexican the other hand, we never found a Pan-Latin way of
coworker, “How do you answer the phone?” We saying hello. The hyperreal had turned surreal.
say, “^BuenoP” (by the way, bueno literally means We ended up creating a funny, clever, and
“good”). Nereyda said Cubans answer “Oigo" (“I very effective campaign where people call their
hear”). The Venezuelans told me they say, "Alo” countries of origin, but no one answers the phone
(which has no meaning). Puerto Ricans say, “Hello” by saying hello. We just started the spots midway
(pronounced “jel-o”). The Argentine said she had through the calls. In the world of Hispanic
the only legitimate, polite, correct, and perfect Hyperreality, definitely less is more.

3.12. This billboard was created by Lapis, a Hispanic ad agency. Yet the boards were
pulled after protests from some Latino groups who claimed the campaign was racist
and sexist. What do you think?
 ISSUES IN A CHANGING MARKETPLACE 59

Women in Advertising: Have We

Really Come a Long Way, Baby?
Advertising has been called a meritocracy, a place where gender and race often
don’t affect advancement. We won’t debate that here, except to say that 53% of
the jobs in our industry are held by women, and female owners and CEOs are
far more common in advertising than in other businesses. Nonetheless, women
still hold only 28% of the top management positions in advertising.20 Women
in advertising have made great inroads into account management and media,
where they equal or outnumber men in similar positions. However, women are
underrepresented on the creative side, holding only about a quarter of the cre¬
ative jobs.21 It surely can’t be that women are not as creative as men. Having said
all this, perhaps the most compelling question to consider is: Have we moved
away from the stereotyping of women in advertising?
Rob Walker, who writes the “Ad Report Card” column in Slate online mag¬
azine, has commented on the trend for advertisers to have it both ways when
they portray women—titillating images and noble intentions:

Typically, when advertisers do something that they suspect will offend a

portion of the audience, they claim that they aren’t actually committing
the offense, they are critiquing the offense. So, for example, the Miller
Lite “catfight” spots aren’t exploiting sexy girls in their underwear; they are
simply making fun of advertising that stoops to such levels and those who
respond to it. The inclusion of the actual sexy girls in their underwear hap¬
pens to be the only way to make this sophisticatedly ironic point.22

What do you think about the argument he makes? Do you think he’s equating
“sexy” behavior with “girls”? Last time we saw those ads, they looked like women
to us. Word choice really does matter.
On one hand, it seems ironic that women are so often considered a specialty
market when they make up 51% of the U.S. population and influence 85% of
all purchases, including making 80% of all health care decisions and 65% of all
new car choices.23Yet women do view the world through a different lens. Just ask
Mary Lou Quinlan, CEO of Just Ask a Woman and author of a book by the
same title. Or ask Laith Popcorn, coauthor of EVEolution, a book that forecasts
trends among women.24 Both of these experts suggest that women are indeed
unique. Reaching them requires doing your homework and not making assump¬
tions (especially if you are male).
Women take brands seriously, but be careful—they tend not to bond with
brands they perceive as aggressively targeting them. The best way to reach women
is to consider the unexpected and to pay attention to details—women do. Even
the subtlest nuance can mean more. Give them time to make their decisions. If
you plan on impulse buys, you’ve got the wrong target in mind. Consider that
three-quarters of all women in the United States work full-time, and women over
40 have some of the highest spending power in the nation.25 Now think about this
from a multicultural perspective. There are 32.7 million women of color, and
they have $723 billion in purchasing power. While there are a lot of similarities
60 CHAPTER 3

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3.13-3.15. Whole books have b^en devoted to how women have been depicted in ads. Here’s a pretty good cross section from the
1950s and 1960s that illustrates three long-running stereotypes: sex symbol, mindless ditz, and dedicated homemaker. Have we
really come all that far since then?

along the gender line, cultural groups have their own distinct buying patterns.
The really interesting thing is that most women of color embrace their American
culture while still holding fast to their ethnic identity.26
Women are also considered the leading indicators of social change. To reach
them, we “must deeply understand the meaning, significance and direction of
large social changes.”27 Women have a high preference for personal networking.
They prefer dispersed or shared authority. And they thrive on conceptual think¬
ing, consensus building, and flexible lifestyles.
If there’s one thing we can say about women, it’s that they want and deserve
respect. Don’t talk down to them and don’t assume you know everything about
them. Respect them and their differences.

Maybe women really are different

OK, we’re not talking about which planet women come from. We’re talking
about how women view the world of consumer goods and how we, as advertis¬
ers, can reach them.

• Women are relationship focused; men put a high value on competition.

• Women are driven by people and family; men are driven by action
and outcomes.

• Under stress, women think “support”; men think “respond.”

• Women take more time making purchase decisions than men.
• Women earn only 75 cents to every dollar earned by men.28 They are not
very happy about it.

• Women are more educated than men: 29% of U.S. women have a college
degree, compared with only 26% of men. Further, 56% of all college
students are women, and that percentage is expected to grow.29
 ISSUES IN A CHANGING MARKETPLACE 61

Women have come a long way, and so have the

images we see of them in ads. Prior to World War II,
women where shown as keepers of home and hearth. WORDS OF WISDOM
During World War II, images of women integrated both
"The consumer isn’t a moron.
home and work. Women were shown as powerful and
strong as they responded to the needs of a nation at war. She is your wife.”
But the 1950s brought images of women back to the —David Ogilvy30
home—this time to the suburbs. During the 1960s,
while the sexual revolution was flourishing, images of
women were still fairly homebound. It was not until the
1970s that images of women in advertising began to
show the effects of the sexual revolution. During this time the use of more overt
sex appeals began to appear. Interestingly, so did the “natural” look. Both kinds
of images speak to the seeds sown by feminism. During the 1980s, they were
often depicted as superwomen—women who could have it all.
During the 1990s, images of women finally began to find a balance with
the reality of their lives. Images of empowerment and equity began to appear.
Unfortunately, even more sexualized images also thrived. Some say these highly
sexualized images, along with the use of abnormally thin body types (not to
mention huge breasts), in advertising as well as in other forms of media, have led
to a significant rise in eating disorders and unwarranted dissatisfaction among
women with their bodies. We could write an entire chapter about this. And a
lot of great books are available on this topic, such as Jean Kilbourne’s Deadly
Persuasion and Alissa Quart’s Branded: The buying
and selling of teenagers?1 We urge you to consider
the impact the images you create, as advertisers,
have on girls and women.

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3.16. At the beginning of the women’s libera¬

tion movement in the 1960s, Virginia Slims
positioned their cigarettes just for women. 3.17. Betty Crocker. She’s had eight extreme makeovers since her visual debut

Why should men have all the lung cancer and in 1936—the brand was launched in 1921 without her image. Betty’s look
evolves to reflect the trends of the times, and she’s still going strong.
heart attacks?
62 CHAPTER 3

3.18. An earlier version of this 2000 Kelly Award-winning Nike 3.19. Is the secret that you can sell clothing by showing models
ad ran with the breasts uncovered. Nike caught flak and soon not wearing it? Do sexy images give women a sense of empow¬
pulled it. Why are these Nike bra ads controversial when erment or are they degrading? Or is there some middle ground?
Victoria's Secret ads are readily accepted?

Tapping into the women’s market

• Listen to her. She’s got a lot to say—most of
which you won’t be expecting.

• Give her details. She’ll respect you, and respect

translates into loyalty.

• Talk to her like you’d speak to a friend.

Testimonials can have real power.

• Move past stereotypes. She has.

• If you think she’s one-dimensional, you’re

wrong. Women juggle a lot. Target your brand
to her lifestyle and you just might reach her.

• Tell the truth. She’ll catch you if you don’t.

• Use other women to find her and connect to

her. Think unconventionally.

• She’ll hold you accountable for your

actions. Be a good corporate citizen.
3.20. Dove launched the “Campaign for Real
Beauty” in an effort to spark a debate about current
definitions of beauty. Consumers can even go to a
Don’t Ask, Web site (campaignforrealbeauty.com) and cast

Don’t Tell, Just Sell their votes.32 Talk about engaging your audience!

Depending on the survey, anywhere from 6% to 10% of the American popula-

tion identifies as gay, lesbian, or bisexual. Smart marketers know they can’t ignore
 ISSUES IN A CHANGING MARKETPLACE 63

18 to 30 million people. Aside from the sheer numbers, the gay and lesbian
segment offers marketers other advantages: They tend to have more money than
other Americans, and they spend it. Simmons Market
Research Bureau reports that more than 20% of gay/
lesbian households exceed $100,000 in annual income.
WORDS OF WISDOM
Simmons also notes that this market is exceptionally
loyal, with 89% stating that theyd buy products and "In advertising, sex sells. But
services advertised in gay publications.33 While some
only if you're selling sex.”
advertisers may fear a conservative backlash, many main¬
stream consumer product marketers feel confident in —Jef Richards34

targeting all market segments. As with other specialty

markets, the question is not should we do it, but how?
A poll of 5,000 readers of The Advocate revealed that
54% want ads that address gay and lesbian themes. However, 33% said their
opinions depended on how the content is handled, and 13% wanted advertisers
to concentrate on the product, not the consumer’s sexual orientation.35

Tapping into the gay/lesbian market

If your assignment is to reinforce brand preference among gays and lesbians, you
have several options:

• Run your “mainstream” ad in gay-oriented publications, especially if

the content is gender neutral. You don’t change the creative, but the media
selection indicates that you’re interested in their business.

• Incorporate gay themes into your campaign, using visuals, copy, or both, and
run them in gay publications. This really shows your commitment to gay and
lesbian customers. Just be careful not to fall victim to stereotypical images.

• Use your gay-themed ads across the board. Ikea, for example, has used
gay-oriented themes in television commercials that also reached the
straight market. This demonstrates that you believe your brand is for all
consumers and you’re willing to risk a possible backlash.

• Run gay-oriented ads in traditional mainstream media, but in areas with

high concentrations of gays and lesbians. There’s less chance of a backlash
or of being identified as a “gay brand.”

• Keep your mass-media advertising mainstream or gender neutral and run

promotions and public relations programs to target gays and lesbians,
such as sponsorship of a gay pride parade.

Depending on your perspective, Christmas 2004 brought glad or grinchly

tidings to Target a brand that actively targets gays and lesbians. In an effort to main¬
tain consistency in their policy concerning solicitation, Target prohibited Salvation
Army volunteers from setting up their red kettles outside Target stores. Now heres
the backlash we talked about: That decision was lambasted by conservative groups,
who suggested that Target “buckled under pressure from gay-rights advocates.”
Target denied any motive other than the need to “consistently apply our no-solici¬
tation policy.”36 Procter & Gamble (P&G) found itself in a similar situation when
the American Family Association (AFA), a conservative media watchdog group,
took aim at a P&G commercial that had been running in Canada for four years.
 64 CHAPTER 3

AFA called for a boycott of P&G products, citing among the reasons that P&G
advertises in gay and lesbian media and sends employees to diversity training
programs. P&G responded by stating that they “are pro-P&G consumers and pro-
P&G employees. It is wrong to suggest that P&G has any special ‘agenda beyond
this. As a company, we don’t advocate any particular lifestyle. That is simply not
our business.”37 According to Bob Witeck, president of the gay marketing
firm Witeck-Combs Communication, and Michael Wilke, executive director
of the Commercial Closet Association,
an organization that archives gay and les¬
bian-oriented advertising, Target and
P&G could benefit from the backlash.38
Just remember, could is the key word.
Knowing what’s in the best interest
of your brand, while acknowledging
your own personal boundaries, will help
you weigh opportunities against possi¬
ble consequences.
Other brands, such as Pottery Barn,
Absolut Vodka, and Subaru, don’t mind
their position as gay-oriented products.
On the other hand, Miller beer tried a
two-track approach: catfighting models
ripping off each other’s clothes for the
3.21. This Miller Lite ad got a lot of attention for its positive straight guys and a totally different
use of gay themes to market the product to all adult approach with two women unwittingly
beer drinkers. flirting with two gay guys. It may seem
counterintuitive for beer companies,

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3.22. These guys are successful small businessmen who 3.23. European advertisers have used same-sex couples in
happen to be gay. It’s a good example of talking about the prod- mainstream media for years. Now more American firms are
uct or service and not the lifestyle. joining the trend
 ISSUES IN A CHANGING MARKETPLACE 65

whose product is usually associated with stereotypical masculine attributes, to

freely embrace gay themes. But that’s exactly what they’ve been doing for some
time now, says Wilke. “Some years ago, beer companies were heavily criticized for
their use of sexist commercials,” he explains. “So they started looking elsewhere for
materials and have found both humor and great success in utilizing gay themes.”
He adds, “Gay themes are easy to respond to and to many people’s surprise, they
have seen a great degree of acceptance.”39 (If you’re interested in learning more on
this topic, check out the Commercial Closet’s Web site at commercialcloset.org.)
Back in the mid-1990s, Nike ran an ad, “Canoeists,” featuring two lesbians
as a part of the “Just do it” campaign for the women’s brand. Ironically, no one
at Nike knew they were lesbians. That fact was not lost on the creative team,
who consciously chose the two women because they felt they epitomized the
empowerment theme and spoke to an often-ignored audience, not to mention
it silently pushed a few buttons at Nike, Today using lesbians in an ad doesn’t
have to be a silent response.

You’re Never Too

Old to Buy Something
Rob Walker discusses a recurring stereotype in advertising:

Hilarious Old People—Clara “Where’s the Beef?” Peller being the arche¬
type—have been in a bit less demand in recent years, as the ad business has
figured out that there are a lot of “mature” consumers who happen to have
money to spend and don’t think of themselves as (barely) living punch
lines. (Although Madison Avenue has not quite figured out how to deal
with this. Are older consumers adventurous? Are they horny? Do they have
a sense of humor?)40

If it’s true that mature Americans tend to think of themselves as 10 to 15 years

younger than they really are, does it make sense to turn off a huge potential mar¬
ket by showing a bunch of wacky geezers in your ads? Plain and simple, it doesnt.
Mature consumers are a more dynamic group than you might think, and
they’ve got a lot of money to spend. According to J. Walter Thompson’s Mature
Marketing Group, this segment controls 75% of our nation’s assets as well as 70%
of the nation’s net worth—more than half of which is available for discretionary
spending. They travel a lot, often taking more than three trips a year. In fact, mature
travelers account for 31% of all domestic trips. And this might surprise you: Mature
Americans represent the fastest-growing segment of Internet users in the United
States. Mature users actually spend more time online than college students do—and
they buy more, too. More than half own cell phones as well. People over 55 are liv¬
ing full, active, and adventurous lives. And they live in homes, not the home.
Less than 5% of Americans over 65 live in nursing homes; 86% own their own
homes, and most of them are mortgage-free.41 They’ve always been young at heart,
and now they have time and a lot more money to spend. It s about time advertisers
gave them a little more respect in the way they are depicted.
The mature market is very diverse. Although it skews heavily female, mature
Americans have varying incomes, education, life experiences, and much more.
66 CHAPTER 3

Two distinct groups emerge within the mature market.

One is the 65-plus group. These individuals remember
World War II. They have a strong work ethic, and they
are self-sacrificing, tolerant of authority, comfortable
with conformity, loyal, and patriotic; they’ll happily
spend what they’ve earned and appreciate a good value.
On the other hand, the 55—65 group, the Baby Boomers,
are well educated, hedonistic, focused on self-improve¬
ment, and nonconformist; they believe work should be
fulfilling, feel a sense of entitlement, tolerate differences,
and seek adventure and new experiences. Despite their
differences, people nearing or in retirement have a lot in
common. No matter what group they fall into, those in
the mature market love to spoil their grandkids, spend¬
ing an average of $500 a year on them.42

Tapping into the mature market

Get to know them: They are multifaceted. Don’t 3.24. While Michelob’s TV ads show
make assumptions. athletic Gen Xers flirting at the gym and

Give them facts: Be clear and straightforward. Let pool, the company is going after healthy,

them know the benefits. active Baby Boomers in this ad placed

in AARP. The split headline, “If this
Build relationships: They value personal relation¬
is your idea of a pleasure cruise, this is
ships and are unlikely to make quick decisions.
your beer,” is consistent with the rest of
Above all, don’t pressure them.
the campaign.
Use life-stage marketing: They respond strongly
to the life-changing events in their world. Make
these events the defining moments of your campaign.

Educate the market: They have a lot of time to

read, listen, and learn.

Design with their eyes in mind: Make your ads

visually accessible; use 11- or 12-point type,
plenty of white space, bold headlines, and clear
subheads, and break your copy into columns.

Avoid scare tactics: Scaring them wont work anyway.

Instead, celebrate the joys of aging and retirement.

Don't call them names: If there’s one word they

hate, it’s senior. Old and elderly won’t get you very
3.25. This ad shows very little sensitivity
far either. We saw one ad promoting investment
toward the mature iharket. Remember
seminars for “Greedy Geezers”—which was either
what we said about humor? Well, let’s
very gutsy or just plain rude.
just say we’re not so sure this works.
Demonstrate your credibility: They want to trust
you, so give them a chance. Consider testimonials,
use research, and try endorsements.

• Remove the risk: Offer a guarantee or free trial to gain their trust and loyalty.43

Now that you have an overview of the mature market, here are a few specifics to
consider related to each advertising medium, courtesy of Age Venture News Service:44
 ISSUES IN A CHANGING MARKETPLACE 67

• Business cards: Is the print legible? Is the type large enough?

• Brochures: Avoid glossy stock because it glares. Remember to use larger

type and go for high contrast.

• Newsletters: Mature Americans take the time to read them cover to cover
as long as the topics interest them.

• Print ads: Keep it simple and avoid clutter. They respond well to “how¬
to” copy.

• Radio: Keep background music to a minimum and remember they are

heavy early-morning listeners.

• Television: Nobody watches the news like they do (notice all the mature
market products advertised during the national network news programs?).
Watch the background music and keep titles on the screen just a bit longer.

• Direct mail: They like getting mail. It’s not all junk mail to them.

• Promotion: If something can save them money and the offer doesn’t expire
too soon, they’ll participate.

It’s a Global World

Multinational companies demand global campaigns from their advertising
agencies. They stress conformity in brand names and advertising images.
Unfortunately, one look does not fit all countries, even if they speak the same
language. Some famous examples of losing it in translation:

• Ford has had a series of problems in marketing cars internationally. Their low-
cost truck, the Fiera, means “ugly old woman” in Spanish. The Ford Caliente
in Mexico was found to be slang for “streetwalker.” The Pinto subcompact
was a hit in the United States, but in Brazil, pinto means a small penis.

• In Germany, the Sunbeam Corporation did not test the name of their
“Mist-Stick”—a mist-producing hair curling iron. In German, Mist means
“excrement,” and a “manure-stick” did not draw much interest.

• United Airlines headlined an article in their in-flight magazine about the

star of Crocodile Dundee “Paul Hogan Camps It Up.” Unfortunately, in
Australia, “camping it up” is slang for “flaunting homosexuality.”

• When PepsiCo advertised Pepsi in Taiwan with the tagline “Come Alive
with Pepsi,” they had no idea that this would be translated into Chinese
as “Pepsi brings your ancestors back from the dead.”

• In Japan, Procter & Gamble used a television commercial that was popu¬
lar in Europe. The ad showed a husband entering the bathroom and
touching his wife as she takes a bath. The Japanese considered this ad
to be in very poor taste because it depicted an invasion of privacy and
inappropriate behavior.45

• In Mandarin Chinese, the literal translation of Coca-Cola is “bite the wax

tadpole.”
68 CHAPTER 3

You may have noticed that we

haven’t included on this list the
infamous story of the Chevy Nova,
which has been said to have failed in
South America because in Spanish
no va means “won’t go.” This urban
legend has been debunked; as many
writers have pointed out, the name
Nova, spelled and pronounced
correctly, had already been well
accepted for other products in
South America by the time the
Chevy model came along.46
While it’s true that companies
3.26. McDonald’s globalized their brand to be consistent no
stress conformity in branding, there
matter where you see it. However, in India they use no sacred
are two approaches to consider:
cows in their burgers. Note the “Maharaja Mac” and “Vegetable
the standardized approach and the
Burger with Cheese.”
globalized approach. The globalized
approach takes the view that con¬
sistent branding supersedes most cultural differences. With the exception of
language, campaigns are virtually identical from country to country. The stan¬
dardized approach suggests consistency, but only to a point. Brands that adopt a
more standardized branding approach internationally keep their logos and other
branding elements consistent, but they make other changes to accommodate
local cultures. While the globalized approach focuses on maintaining brand con¬
sistency to a much higher degree, neither approach can afford to completely
ignore local customs and cultures. Regardless of which approach works for your
brand, you must understand local laws and regulations, as they vary greatly from
country to country.
In the global marketplace, advertisers usually think in terms of four levels:

1. Local: A local brand is advertised within a single location or country.

2. Regional: A regional brand is advertised within a specific geographic area,

such as North America, Europe, or Southeast Asia.

3. International: International brands are advertised across the globe but tend
to use the standardized approach to advertising and thus reflect local culture.

4. Global: Global brands are those that embrace the globalized approach,
described above, as they stretch their brand names worldwide.
McDonald’s and Marlboro are great examples of global brands.

Tapping into global audiences

Wells, Burnett, and Moriarty offer a few tips for globalized and standardized
advertising that we think are good—plus we’ve added a few of our own ideas.47

Globalized
• You can save money with economies of scale.

• Ensure that your advertising messages are complementary and consistent.

 ISSUES IN A CHANGING MARKETPLACE 69

• The company can maintain control over its advertising image.

• Global media creates more opportunities for global marketing.

• Converging buyers’ wants and needs across the globe can increase desire
for the same product.

• There is limited competition in many foreign markets.

• Graphics and visual approaches can (sometimes) overcome

cultural differences.

Standardized
• There’s a better fit with the local marketplace and advertising will be less
likely to overlook variations in buyer behavior.

• Involve a local professional in the decision-making process to enhance

local acceptance.

• Any cost increases resulting from a more culturally specific approach are
often offset by off-target ads.

• Culturally respectful and strategically bound advertising can often be

highly successful.

• The chances of cultural blunders decrease.

• Honoring local customs can lead to good PR.

As we move deeper into the 21st century, the global marketplace offers
advertisers ever-increasing potential. For now, the growth is slow, similar to ad
spending in the United States. Global brands look to the international market¬
place for strategic growth, but not to the exclusion of the U.S. market, which
still accounts for 45% of advertising spending.48
Companies such as Procter & Gamble, Unilever, and General. Motors have
been aggressive players on the global stage for years. For instance, Unilever—
think Axe, Slim-Fast, and Ben & Jerry’s—buys media in 72 of the 78 countries
tracked by Advertising Age.49 Yet, across the board, advertising media spending
has been down while spending on sales promotion, sponsorship, interactive, and
PR increases.50 As global brands look for ways to expand markets, advertisers
need to improve their measurement of advertising’s effectiveness and efficiency
as well as continue to be respectful global corporate citizens. As the global mar¬
ketplace grows more competitive, IMC will rule and advertising will continue to
compete against the other forms of marketing communication—and it had
better do so effectively, efficiently, and with global consciousness.
Companies that ignore global consciousness pay a high price. Consider
Nike’s labor woes in the mid-1990s, or Johnson & Johnson’s attempt to sell floor
wax in countries where the majority of the people had dirt floors, or Nestles
advertising of baby formula in countries where clean water was scarce and
breast-feeding was the norm. When advertising a global brand, you cant afford
to ignore the multitude of possible pitfalls.
Another factor to consider is the backlash against American consumer prod¬
ucts. WTether it’s a reaction to U.S. foreign policy, revival of social and cultural
traditions, or resistance to the Americanization of local culture, a lot of people
70 CHAPTER 3

around the world don’t like us or the goods that represent America. French
consumers cheered the destruction of McDonald’s restaurants by angry mobs. In
the Arab world, locally bottled Mecca Cola is becoming the alternative to Coke.
Recently, the Chinese government lambasted a Nike commercial featuring LeBron
James fighting a kung fu master and various other Chinese characters, stating that
the spot contained “content that blasphemes national practices and cultures.”51

Did We Miss Anyone?

You’d Better Believe It
What about Asian Americans? While there are some cultural similarities, you
can’t use the same tactics for Chinese, Japanese, Korean, Indian, Pakistani, Thai,
and the dozens of other Asian American ethnicities. And remember, Asian
Americans may be a small market segment, but in general they are also a
well-educated and highly affluent segment.
What about Arab Americans? Not all Arabs are Muslim. Not all Muslims are
Arabs. How do we address them while not alienating other groups of Americans?
The challenges can be daunting.
Then there are Native Americans. We’ve come a long way from using the
most offensive stereotypes, but we still have a long way to go to integrate them
into the mainstream. The same is true for disabled people. Every disability
presents different wants and needs. Like African Americans before the 1970s,
disabled people are nearly invisible in today’s advertising.
Then there are children and teens. Teens speak a language anyone over
30 can’t possibly comprehend. So how do you write ads to reach them? Children
might well be the most interesting and perhaps the most controversial market
segment to discuss. There just isn’t enough time or space. However, we can offer
a few overall tips that apply to most situations:

• Don’t make assumptions.

• Do your homework.

• Always remember that even within a market segment there can be

huge variation.

• Market segments, like subcultures, are culturally bound.

• Social context matters.

• We’ll steal an old slogan: “Act globally and think locally.”

• Above all, be respectful.

This last point needs some more discussion. John Kuraoka, a freelance
copywriter, offers some advice regarding diversity and copywriting:

Racism, sexism, and other us-against-them motifs are not funny. It is no

more acceptable to poke fun at a middle-aged white man than it is to poke
fun at a young black lesbian. It makes no difference that you, personally,
are either a middle-aged white man or a young black lesbian. On reflec¬
tion, it’s questionable whether poking fun at anybody helps sell anything.52
 ISSUES IN A CHANGING MARKETPLACE 71

WORDS OF WISDOM

The following was written by Charles Hall, an African don’t be afraid to take criticism,
American copywriter and film director. While some of it don’t be afraid to be wrong, to be right,
applies specifically to people of color, it’s good advice for don’t be afraid to speak your mind, stand up for
anyone starting out: what you believe and pay the consequences,
don’t be afraid to be a team player, don’t be afraid
to the blacks browns reds and yellows periwinkles to be the peon, the rookie, the junior, the helper,
teals and fuchsias the pair of hands, the intern, the student,
if you want to be in advertising, there is one thing don’t be afraid to not be the victim, don’t be afraid
to remember. to not take it personally, don’t be afraid to call a
don’t be afraid. spade a spade.
of hard work, rejection, racism, responsibility, don’t be afraid to have a personality, an opinion, a
sexism. point of view, a perspective, an objective, a posi¬
don’t be afraid of being the only one in the room. tive attitude.
don’t be afraid to ask questions, find answers, lis¬ don’t be afraid of those who are threatened by your
ten. hear, trust. presence, or feel you don’t belong, or those who
don’t be afraid to follow, don’t be afraid to lead. need you to fail for them to succeed,
don’t be afraid to learn, to grow, to mature, don’t be afraid to understand the difference
to change. between racism and insecurity, between racism
don’t be afraid to try. to fail, to try again, fail and power, between sexism and chauvinism,
again, try again and fail again, don’t be afraid to don’t be afraid to forgive, to apologize, to be humble,
ask for help. don’t be afraid to surrender, to win. to lose, to fight,
don’t be afraid to be smart, clever, witty, funky, don’t be afraid of titles, awards, salaries, egos, offices,
hard, street, elegant, beautiful, you. windows, ponytails, clothes, jewelry, degrees,
don’t be afraid to be fired. backgrounds, lifestyles, cars, beach houses,
don’t be afraid when you hear the word nigger. don’t be afraid to compete,
don’t be afraid to remind them that right after the don’t be afraid of not being popular,
black jokes come the jewish jokes the polish don’t be afraid to work weekends, holidays, birth¬
jokes and the fat jokes. days. sick days, personal days,
don’t be afraid to master the craft, to master don’t be afraid to work twice as hard, twice as long,
the game. twice as good.
don’t be afraid when they don’t understand your don’t be afraid to get more out of this business than
accent, dialect, or slang, your heroes, your sex this business ever intended on giving,
symbols, your style, your music, your people, p.s. and under no circumstances whatsoever are
your culture, your you. you to be intimidated, because some will try.53
72 CHAPTER 3

On the other hand, don’t let political correctness overrule common sense.
Kuraoka has some good advice on this, too: “There is a difference between race
and racism, sex and sexism. It is foolish, for example, to make a pantyhose ad
gender-neutral. Be aware of cases in which neutering the character of your copy
will degrade its effectiveness.”54

It’s Also about the

People Who Make the Ads
It’s also about the corporations who hire us. It’s about who we work for, whether
it’s the agency or the client. It’s about the decisions we make. Would you be will¬
ing to do liquor ads if you grew up with an alcoholic father? Would you work
for Planned Parenthood if their message conflicts with your beliefs? We might
go out with the “girls” or catch a beer with the “boys,”
but in our ads do we really want to call grown people
“boys” or “girls”? It’s all a matter of sensitivity. It’s a judg¬
ment call—your judgment.
"To be sure, men and women Advertising, perhaps more than any other type of

approach things differently. business, draws from a wide and varying range of per¬
sonality types. It can be a very exciting business. It can
... But Vm not sure those
also be extraordinarily challenging. We could write
differences create barriers. another chapter on this alone. But as this is a creative
In advertising, the issue isnft strategy book, we’ll keep it short and sweet. Our best
who did it, but how good is it” piece of advice is this: Get to know yourself before you
get into this business. A lot will be asked of you, and
—Helayne Spivak55
you had better know where you stand before you have
to make tough decisions. We can’t help but close with
the Golden Rule: “Do unto others as you would have
them do unto you.” We suggest that you take the Golden Rule to heart. It will
take you far in this business—and in life.
A final note: In preparing to write this chapter, we talked with a diverse
group of advertising practitioners and also conducted extensive secondary
research on diversity and on legal and ethical issues as they relate to diversity
and creative strategy. We tried to be sensitive and unbiased regarding the var¬
ious issues discussed here. Yet, in the current supersensitive PC environment,
some people may take issue with our content or the tone. Some might say we
spent too much text on one issue and not enough on another, or that we
totally missed the point on others. The best we can do is to bring these issues «
out in the open and encourage you to be sensitive to them. How you handle
them depends on your own perception and sensitivity.

Who’s Who?
A1 Anderson—A1 Anderson began his career working for the black-owned Citizen’s
Trust Bank, where one of his first decisions was to reject an outside
 ISSUES IN A CHANGING MARKETPLACE 73

advertising pitch because it just didn’t speak to his customers. The rejection changed
his career and led him into the agency world. Today, he is CEO of Anderson
Communication, Inc., in Atlanta, the second-oldest African American-owned ad
agency. Anderson’s clients include Chevrolet, Kraft Foods, Pillsbury, Procter &
Gamble, and Reebok. He is perhaps best known for what he and Thomas Burrell
preached during the 1970s: “Black people aren’t dark-skinned whites.”56

Thomas Burrell—After starting in the mailroom of a Chicago agency, Thomas

Burrell was promoted to copywriter in 1961. During the 1960s, as the race issue
gained significance on Madison Avenue, Burrell became a leader in addressing
race in advertising. He eventually opened his own agency, Burrell Communica¬
tions, the first African American ad agency. By 1980, Burrell had become
the largest African American agency in the United States, stressing the unique
experiences of African Americans. Burrell’s client list includes Coca-Cola,
McDonald’s Corp., Procter & Gamble Co., and Sears, Roebuck & Co. and sur¬
passed $168 million in billing in 1998.57 Burrell has since retired, leaving a
legacy that continues to inspire innovative young advertising professionals.

Anna Morris—Anna Morris is an award-winning creative who began her

career with Burrell Communications, where she specialized in targeted radio and
television commercials for clients such as Procter & Gamble, Coca-Cola, and
McDonald’s. Morris later founded an independent production company that
specializes in television, targeting African American audiences. In addition to
her evolving role as a producer, Morris is a part-time instructor in the Marketing
Department at Columbia College in Chicago.

Tere Zubizarreta—A Cuban-born entrepreneur, Tere Zubizarreta spent the first

12 years of her career working for mainstream ad agencies. After her experiences
in the late 1960s and early 1970s, she came to believe that mainstream agencies
didn’t understand how to speak with resonance to Latino consumers. It was
clear to her that taking an English spot and dubbing it was just not enough. In
1976, she established her own agency, Zubi Advertising. As of 2003, Zubi
had gross billings of $147 million; the agency counts American Airlines, Ford,
S. C. Johnson, and Wachovia Bank among its clients.58

Notes
1 A. Jerome Jewler and Bonnie Drewniany, Creative Strategy in Advertising, 7th ed. (Belmont,
CA: Wadsworth, 2001), 29.

2 From American Demographics Forecast, April 21, 2001, http://www.magazine.org/

Advertising_and_PIB/ad_categories_and_demographics (accessed May 25, 2005).

3 C. Stone Brown, “African Americans Aren’t Dark-Skinned Whites,” Diversitylnc,

December 6, 2004. (This and other articles from Diversitylnc magazine can be accessed
online at http://www.diversityinc.com.)

4 Quoted in ibid.

5 See “Diversity,” n.d., Magazine Publishers of .America (MPA) Web site, http://www.
magazine.org/diversity (accessed May 25, 2005).
74 CHAPTER 3

6 PIB (Publishers Information Bureau), 2002.

7 William D. Wells, John Burnett, and Sandra Moriarty, Advertising: Principles and Practice,

6th ed. (New York: Prentice Hall, 2003), 107.

8 U.S. Census Bureau, “Forecast Analysis 2000,” Population Today, May/June 2001.

9 Peter Ortiz, “Women of Color Are on a Buying Spree,” Diversitylnc, July 1, 2004.

10 This 1962 quote from comedian and civil rights activist Gregory comes from Stephen
Donadio, ed., The New York Public Library Book of Twentieth-Century American Quotations
(New York: Stonesong, 1992), 70.

11 Mediamark, fall 2002.

12 Jewler and Drewniany, Creative Strategy in Advertising, 31.

13 Quoted in Peter Ortiz, “Calling the Shots—in Spanish,” Diversitylnc, December 13, 2004.

14 Jewler and Drewniany, Creative Strategy in Advertising, 31.

15 This information comes from http://css.edu./users/dswenson, October 8, 2001.

16 “Hispanic Fact Pack,” Advertising Age (suppl.), June 21, 2004, 36.

17 Laurel Wentz, “Heineken, Citibank Are Big Winners,” in “Hispanic Creativity” (special
report), Advertising Age, October 4, 2004, S-2.

18 Angela Johnson, “The Truth about Marketing Urban Legends,” Diversitylnc, January
12, 2004,

19 Iliana Aleman, e-mail correspondence with authors, July 13, 2004.

20 The' Advertising Age Encyclopedia of Advertising, vol. 3 (New York: Taylor & Francis,
2003), 1655.

21 Ibid.

22 Rob Walker, “The Return of Hilarious Old People: Ads That Make Fun of the Elderly,”
Slate, May 26, 2003, http://www.slate.com/id/2083463 (accessed May 25, 2005).

23 Mary Lou Quinlan, Just Ask a Woman: Cracking the Code of What Women Want and How
They Buy (Hoboken, NJ: John Wiley, 2003), 1.

24 Faith Popcorn and Lys Marigold, EVEolution: The Eight Truths of Marketing to Women
(New York: Hyperion, 2000).

New Strategist Editors, American Men and Women: Demographics of the Sexes (Ithaca, NY:
New Strategist, 2000), 247.

26 Ortiz, “Women of Color.”

27 Charlie Hess, “Women Lead Way in Profound but Quiet Revolution,” Advertising Age,
January 24, 2000, 26.

28 Hillary Chura, “Failing to Connect: Marketing Messages for Women Fall Short,”
Advertising Age, September 23, 2002, 14.

29 New Strategist Editors, American Men and Women, 64.

30 David Ogilvy, Confessions of an Advertising Man (New York: Ballantine, 1971), 84.

31 Jean Kilbourne, Deadly Persuasion: Why Women and Girls Must Fight the Addictive Power of
Advertising (New York: Free Press, 1999); Alissa Quart, Branded: The Buying and Selling of
Teenagers (Cambridge, MA: Perseus, 2003).

32 Silvia Lagnado, “Getting Real about Beauty,” Advertising Age, December 6, 2004, 20.

33 Simmons research cited in Walker, “The Return of Hilarious Old People.”

 ISSUES IN A CHANGING MARKETPLACE 75

34 Quote from University of Texas at Austin, Department of Advertising, http://advertising.

utexas.edu/research/quotes/Ql 00.html#Advis (accessed May 24, 2005).

35 Jewler and Drewniany, Creative Strategy in Advertising, 41.

36 T. J. DeGroat, “Target Boots Salvation Army, Wins over Gay Consumers,” Diversitylnc,

December 20, 2004.

37 Quoted in T. J. DeGroat, “Call for Boycott Continues as 4-Year-Old Gay Ad Haunts

P&G,” Diversitylnc, December 22, 2004.

38 http://abcnews.go.com/sections/business/DailyNews/beerads_010530.html (accessed July

24, 2004).

39 Ibid.

40 Walker, “The Return of Hilarious Old People.”

41 All of the statistics cited in this paragraph come from Frank Kaiser, “Secrets of Successfully
Advertising to Seniors,” n.d., http://www.kaisercom.com/advertiseseniors.html (accessed

May 25, 2005).

42 Ibid.

43 List adapted from http://www.eamet.com.

44 Ibid.

45 Information from http://css.edu-/users/dswenson, October 8, 2001.

46 Johnson, “The Truth about Marketing Urban Legends.”

47 Wells et al., Advertising, 107.

48 Laurel Wentz and Mercedes M. Cardona, “Robust Ad Spending Growth Forecast for U.S.

Next Year,” Advertising Age, December 8, 2003, 8.

49 “Global Marketing Expenditure,” Brand Strategy, February 2004, 38.

50 R. Craig Endicott, “Top Marketers Spend $74 Billion,” Advertising Age, November 10,

2003, 26.

51 “Advertising 101: U.S. Sensibilities Don’t Always Translate Overseas,” Diversitylnc, December

19, 2004.

52 John Kuraoka, “How to Write Better Ads,” n.d., http://www.kuraoka.com/how-to-write-

better-ads.html (accessed May 25, 2005).

53 Quoted in Maxine Paetro, How to Put Your Book Together and Get a Job in Advertising

(Chicago: Copy Workshop, 2002), 156.

54 John Kuraoka, “How to Write Better Ads,” n.d., http://www.kuraoka.com/how-to-write-

better-ads.html (accessed May 25, 2005).

55 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/spivak/html

(accessed January 10, 2005).

56 Brown, “African Americans Aren’t Dark-Skinned Whites.”

57 “The Advertising Century” (special issue), Advertising Age, March 29, 1999, 66.

58 Ortiz, “Calling the Shots.”

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Concepting (What’s
the Big Idea?)
T he word concepting usually trips up spell-checkers. They often try to
replace it with conception. We suppose in many ways it’s similar to
creating new life. Another way to say it is ideation or the creative
process. In this book we define concepting as the development of the big idea. If
you have a central thought, that One Thing you can say about the product, how
do you say it and how do you show it? Right now we’ll focus on print concepts,
with the primary emphasis on magazine ads. Why magazine ads? They give you
the space for copy if you want to write it, they work very well for multi-ad cam¬
paigns, and they fit into your portfolio nicely. The same processes are used for
other media, except for radio, where the visual is implied.
Concepting is the bridge between strategy and tactics, taking you from gath¬
ering facts and getting organized to creating words and pictures. At this stage in
your career, you don’t have to be a great writer or an accomplished art director.
But you should start working on becoming a great idea person.

How to Be Creative
(Concepting Strategies)
You can find many theories and recommendations on how to be creative.
However, it’s not a nice, neat, linear process. In most cases, the only scientific
principle that applies is “chaos theory.” That killer idea may pop up in the
shower. On the drive into work. When you’re watching TV. Or in a dream. No
one can tell you when and how to think it. Concepting a single ad or a whole
campaign is like making sausage. The end result can be delicious, but the
outside world doesn’t want to see how it’s done.
While there is no single process that works for everyone, most people rely on
two basic methods:

1. Adapt the strategy to the creative.

2. Make the creative fit the strategy.

78 CHAPTER 4

Working backward:
There’s got to be a
strategy in there somewhere
"One of the problems with too We’ve all done it. In a sudden fit of inspiration, you
many young creative teams come up with a great headline or find a really cool
today is that they’re missing a photo. Now, how can you use it? There’s got to be some
client this will work for. Maybe it’s so great it doesn’t
base of knowledge.... They
matter if it solves the client’s problem. Any of that
look at pedestrian television annoying problem-solving stuff can be handled in the
and print and say, ‘Hey, I body copy. Heck, you can throw in a subhead to explain
could do that crap.’ Then it. After it’s done, you can always go back and rational¬
ize a strategy. Who knows, it might even be on target
they get into the business
when you work backward.
and they do that crap.”
This approach is usually used in the following scenarios:
—Helayne Spivak1

• Pitching new business (“We don’t know much

j about your product but we can do wacky stuff.”)

• Portfolio padding (“The ad looks great, and no one will know if it really
didn’t sell anything.”)

• Awards competition (See above.)

• Advertising class work (“This was the only decent picture I could find so
I had to build my ad around it.”)

Concepting by the book

Great concepts begin with great strategy and great research. Garbage in, garbage
out. Before you start scribbling, make sure you have the answers to the follow¬
ing questions:

• What is the client’s real problem?

• Can I solve the problem creatively with marketing communications?

• Do I know the target audience?

• Do I know the product features/benefits?

• What is the One Thing I can say or show about this product?

• How much do I need to say or show? (Do I even need a headline?)

• Where is this product positioned? Where do we want to be positioned?

• Do I know the competitions strengths and weaknesses?

• What should the tone be?

Depending on the product and target audience, some of the answers to the
above questions may be “not applicable.” For a mature package good, such as
 CONCEPTING 79

deodorant, you really don’t need an in-depth analysis.

But you do need to understand the target audience and
find the right tone to reach them.

"Good advertising achieves

whatever objectives are
Concepting Approaches established at the outset.
As we’ve mentioned, developing creative ideas is not a Some campaigns do this
neat, orderly process. Many texts provide formulas for through sheer weight and
concepts, which usually work great to describe a com¬ repetition. Others do it by
pleted ad, but don’t help to develop a new one. At
speaking to the consumer in
the risk of falling into the same trap, we offer several
simplified approaches to concepting.
an intelligent manner, as an
equal, opting for the highest
• Show the product: Establish or reinforce brand common denominator rather
identity. Period. than the lowest.”
• Show the benefit: What happens when you use it? —Jeff Goodby2
What does it do for you?

• Show the alternative: What happens when you

don’t use it, or when you use the competition?

• Comparison: Compare it to other products or offer a metaphor.

• Borrowed interest: Introduce something seemingly unrelated.

• Testimonial/case history: Present an endorsement or description of what

it’s done for someone else, whether a celebrity or an ordinary person.

Show the product

It sounds boring, but some of the most innovative ads just show the product
or logo. The benefit may be buried in the copy, implied in a tagline, or missing
entirely. The main purpose is to establish a brand image or reinforce that image.
For example, with most packaged goods, it’s probably better to show the pack¬
age or label rather than describe it in a headline. After all, it’s what the consumer
sees on the grocery store shelf. Sometimes you can set up a concept in a modi¬
fied “question/answer” format, where the question (or problem) is stated and the
product/package/logo is the answer (solution).

Show the benefit

In many cases, this involves a straightforward declarative sentence proclaiming
the main benefit. Usually the reader does not have to think too hard to get the
concept. Sometimes this is the first thing you think of. From here you move on
to more creative approaches. However, it may be exactly what’s required, espe¬
cially if you can pair your straightforward headline with a compelling, attention-
getting graphic. For a soft drink, for example, you may not have any headline,
but you show the can or bottle and people having fun. The benefit is implied:
Your product is connected with good times.
80 CHAPTER 4

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the headline and copy are the fun parts of Element is actually constructed entirely of Legos. So you
the ad. can not only show the product, but you can also make the
point that everything fits together just right.

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4.5. In this banner ad the benefit is not
only shown, it can also be personalized. Of
course, considering the already slim, head¬
4.3. This student ad does a great job 4.4. The benefit here is as plain as the hair
less women, it’s also hard to miss the mes¬
of establishing the package as well as on your head.
sages about perfection and objectification.
positioning the product as just water. -—-
 CONCEPTING 81

IN THE MORNING:

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4.6. Showing the alternative: If you eat those yummy treats instead of NutriGrain bars, 4.7. This student-designed ad shows
it’ll show up somewhere. the alternative to wearing a new Hanes
T shirt. (“Sometimes you need a plain
white T-shirt.”)

Show the alternative

This can be a lot of fun. One extreme example is a campaign for Terminex that
shows outrageous ways people keep insects out of their homes—turning the liv¬
ing room into an ice-covered deep freeze, for one. That’s a lot more interesting
than showing a clean, bug-free house.When you go back to basic wants and
needs of the target audience, it becomes easier to visualize the alternative con¬
cept. In most cases, you think of the opposite of basic wants and needs—hunger,
thirst, embarrassment, loneliness, illness, pain, and so on. You can probably
think of several extreme images for each of these that are far more interesting
than their positive counterparts.

Comparison
You can compare your product to a competitor or, by using a metaphor, com¬
pare it to just about anything.

Competitive/Comparison Concepts
When you go head-to-head against the competition, keep these factors in mind:

• If you are the market leader, don’t compare yourself to number two.

• When you compare product claims, make sure you are correct.

A few examples:
Avis claimed they were number two, so they had to try harder than Hertz
to win your business. Seven-Up is crisp, clear, and citrus-based versus brown
cola-nut sodas. It’s the “uncola.” Both claims were true. Both claims were made
by competitors hoping to gain market share from the leaders.
82 CHAPTER 4

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4.8. In this ad, Lincoln compares their large Aviator SUV to 4.9. A competitive comparison that shows a tangible
their own titanic Navigator instead of to competitive brands, benefit—half the fat of the leading brand.
using the headline “Genes? Yes. Clone? No.” -

The “cola wars” of the 1980s and 1990s represent another component
of competitive advertising. Pepsi was number two to Coke and pursued a very
aggressive series of campaigns that involved taste tests, celebrity talent, catchy jin¬
gles, cutting-edge concepts, elaborate sales promotions, and take-no-prisoners
marketing tactics. While Pepsi won the hearts and minds of ad critics with their
creativity, they are still number two—probably because the consumer still can’t
perceive a real difference between Pepsi and Coke.
Here are some tips for comparison advertising:

1. Try to make sure that your claims are as factually bulletproof as possible.

2. Try to collect hard evidence in advance to support your factual assertions

(your lawyer will thank you).

3. Consider the risk/reward ratio—how much incremental benefit you will

get from making the specific comparison versus how much additional
risk you court by doing so.

4. Consider including a footnote with additional factual data, such as

(a) the applicable version numbers of the products in question and
(b) the date as of which the information is current.* 1 2 3 4
 CONCEPTING

4.10. This student visual puzzle says Oxydol gets any smell out
of clothes. Look closely and you’ll see the “skunk” is actually a
pile of clothes.

4.11. Two ways to use white space. Banana Boat sunblock keeps
you from turning red. Get it?

4.13. Visual metaphors work for business ads, too, especially

4.12. Look closely. That’s a manhole cover, not a cookie, in her when you’re discussing rather intangible products, such as
mouth. Can you think of a stronger metaphor for bad breath? improvement in data-processing speed.
84 CHAPTER 4

Metaphors
Favorites of English teachers and awards judges.
Since grade school, you’ve been instructed to use
metaphors to spice up your compositions. Use what
you know about metaphors and apply them visually
to your ad concepts. Visual metaphors can be very
direct, such as a grumpy bear morphing into a normal¬
looking guy after his first cup of coffee in the morning.
Or they can be more subtle. Some are very obscure and
require a few mental leaps to connect the visual with
a product. Sometimes readers appreciate the minor
challenge of making that connection themselves. They
know the advertiser gives them some credit for having
a brain.
Judging by recent awards programs, the greater
the distance from visual to benefit or brand value,
4.14. Everyone knows what a Hershey’s bar the higher the ranking, especially if you dispense
looks like, so this ad uses borrowed interest with headlines or copy to sell anything. Even though
to show why it would be bad to' change it. you may lose many readers with obscure visual puzzles,
sometimes you’ll really hook the committed few
who take the time to study and understand your ads. You
need to know if enough members of your target audience can solve your visual
puzzle (unless your only goal is to pad your portfolio).

Borrowed interest
Sometimes you can use something seemingly unrelated to make a point. Like
the visual puzzle, it relies on a visual for the bulk of the message, but unlike a
metaphor, there’s no obvious direct connection to the product name or benefit.
Usually this approach involves some kind of attention-getting graphic and/or
headline that snags readers. Once they’re hooked, the body copy reels ’em in.
Sometimes the only objective is brand recognition, and no copy is needed. Some
texts call this the “indirect approach” versus a direct benefit. Whatever you
call it, it can work very well as long as readers get your intended message and
remember the brand favorably.

Testimonials/case histories
Years ago, celebrities not only allowed products to attach names to their
fame, they actively pitched the products. Ronald Reagan, for one, breathlessly
hawked cigarettes, soap, and General Electric. Another form of “testimonial”
told a story, often in a comic strip format, of an ordinary Joe with a problem.
His wife/best friend/boss tips him off about the wonderful product, and
in the final frame hes happy as a clam, achieving inner happiness and
financial success.
Today, testimonials, celebrity and otherwise, are still a popular concept.
To be effective, they must have credibility—sort of like an editorial feature.
 CONCEPTING 85

Ron Lory ... an aufwporkei. a father of thee»• and a

Pierce
Itfeioug St. ImuH baseball fan, He and bis. family haw strong lies hi mining her life. Her first serious romance,
the Mullets!. Here, he tells telly, despite the risks, be uprooted his Brosnan’s Choice
finals mid left a secure fob to (ante help build the bumdneu - Saturn
ears in Spring Hill, liunefue.
and all. I wouldn’t have made the move unless
the whole family said ‘Let’s go for it,’ and my
daughter knew it. So she decided to try. You
II.. .Fm a St. Louis boy; and my wife is know; I’m really proud of her for that
a St. Louis girl. I raised my family there and Funny story. When I first heard about
worked at a car plant thirty miles out.
I enjoyed what I was doing, but
you reach a point in your life when you
look at the future and decide to do
something for no other reason than just
believing it’s right
For me, Saturn was the chance to
make a difference. Id prove I have a
mind, that I’m more than just a pair of hands. Saturn, I came home and we started hauling
I wouldn’t have moved my family four out the maps, looking for Spring Hill.‘Where’s
hundred miles just to fail.Then have to pack Spring Hill ?’ Sure enough, it’s right in the WSk
them up and move again. middle of the fold and we couldn’t find it. LjjH
Sham (<!>« Ayr A Tvhka
My wife had to leave a house she loved. Now; can you imagine trying to talk a Co-AxUS EK’spcmcni
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and a patio in the back. smaller than their high school?.. M
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My 16-year-old was convinced wc were A Different Kind of Company. A Different Kind of Car.
tiffinV tike » * *NOH'flfwr ohmSaturn, end m me trddxs andplane mat l$OOS21-SOOO.
Brown & Co Ro.cv.a-ii. qa i

4.15. When Saturn introduced their brand, they didn’t show cars. They told stories 4.16. Now that he’s no longer 007, Pierce
about the people who make them. This ad talks about a guy who moved his family to doesn’t need a watch that turns into a
Tennessee to work for Saturn. cruise missile.

You might want to consider using a case history or

testimonial in the following circumstances:

• The right celebrity can have a positive and plau¬

sible connection with the right product (Lance
Armstrong promoting Trek bicycles).

• You can develop a case history that convinces the

reader the product can solve a similar problem for
the consumer (a farmer says, “I saved $4,000 this
year by using a new automated milking system”).

• You can connect an event or person to the prod¬

uct to leave a positive impression (a Buick dealer
promotion tied in with Tiger Woods and the
Buick Open golf tournament).

On the other hand, your testimonial or case history

could be so outrageously fake that readers can see
through the satire and create a positive image of the
product. In other words, use a celebrity to convey an 4.17.“Gary Jobson put his trust in classics.”
alternative message, such as the ad for a barbershop fea¬ He may not be as famous as Pierce
turing Richard Nixon and the headline, “You can’t cover Brosnan, but he’s the kind of guy who

up a bad haircut.” appreciates things of value.

86 CHAPTER 4

The Concepting Process

Now comes the fun part. Time is running out. Your assignment is due tomor¬
row morning. You’re still sitting in front of a pile of white paper and your mind
is as blank as the first sheet on the stack.

Say it straight, then say it great

"If an ad campaign is built If you’re not blessed with a sudden bolt of creativity,
around a weak idea—or as is how do you get started? One of the best pieces of advice
comes from Luke Sullivan: “Say it straight, then say it
so often the case, no idea at
great.”4 In other words, try a straightforward approach
all—I don't give a damn just to get the facts organized and trigger more ideas. You
how good the execution is, can start with “This ad is about. ...” Then you can toss
it's going to fail ” that and move on to a more creative way to say it and
show it.
—Morris Hite5
This is also a great way to test the strategy internally.
Work up a number of straightforward concepts that look
like ads. Then review them with the account team. The objective is to get the
group to say, “Yeah. That’s the main idea. Now how do we make it better?” This
not only makes for better concepts, it helps build good relationships with your
team. Take their input, then really go to work to do something great.
You may want to start scribbling down product features or other
attributes of a product and keep asking “So what?” Those questions may lead to
something interesting.

Brainstorming
Here’s the recipe for a great concept: Combine two creative people, preferably a
writer and art director; add stacks of blank paper, Sharpies®, pencils, and layout
pads; mix in copies of Communication Arts, stock photo books, and popular
magazines; turn up the heat with tight deadlines and client demands; let it sim¬
mer or boil over occasionally; if cooking process takes longer, add pizza, junk
food, and beer; allow thoughts to cook until a number of rough ideas develop
or one of the creative people has killed the other.
From our experience, we’ve found brainstorming works best with two
people. Usually, the dynamic duo is the copywriter/art director team. But it may
be two writers or two art directors. Or an art director/illustrator or writer/
producer team. Sometimes a third or fourth party gets involved, but it’s usually
better to bring in other people to validate ideas rather than develop them.
Creating by committee is usually a bad idea, especially if a client is
involved in the early process. Sometimes a creative team needs to really rip on
the product or brand to get the silliness out of the way and/or really address
some marketing problems. That’s hard to do with a client in the same room.
It’s always better to ask a client, “What do you think of this idea?” instead of
“What do you think we should do?” The process often isn’t pretty. Most times
you really dont want to know how it’s done as long as the finished product
turns out great.
 CONCEPTING 87

Idea starters
Sometimes you don’t have the luxury of brainstorming
with another creative person. Your only companion is a
blank sheet of paper, mocking every lame idea that pops "I have learned to respect
into your fevered brain. In this case, don’t wait for the ideas, wherever they come
concept to develop. Just start scribbling. Write
from. Often they come from
down anything. Even the stupid stuff. Jot down key
words. Doodle different visuals. Write out headlines or
clients. Account executives
taglines. Just keep working, and eventually you’ll have a often have big creative ideas,
stack of ideas. Most of them will be junk. But there just regardless of what some
may be a few keepers. Show these to the art director. He
writers think.”
or she may be able to work some magic. Or he or she
—Leo Burnett6
may twist your idea into one that’s even better.

Ten tips for better concepts

Through years of trial and error (more of the latter),
we’ve developed a few recommendations for developing
creative ideas:

1. Just do it. Scribble down everything. Keywords. Sketches. Stick people.

At this stage, there are no stupid ideas. One key word or visual could
trigger an entire award-winning campaign.

2. Write, don’t talk. Keep scribbling. If something works, then describe it

to your partner. If you can’t explain it in a few well-chosen words, go
back to scribbling.

3. Throw it all on the wall and see what sticks. Tack your ideas on a wall
and stare at them for a while. If you have the luxury of time, come back
the next day and see if they still look good. Invite a couple other people
to look at them and ask for feedback.

4. If you’re on a roll, don’t stop. Once the creative juices get flowing, keep
tossing out ideas. If you’re lucky, you and your partner will get on a
streak and come up with not only a killer theme, but enough concepts
for a whole campaign.

3. Does this look funny? During your concept development you’ll come up
with a lot of silly ideas. Some may make you fall down laughing, either
because they’re so funny or you’re totally sleep deprived. Humor is a
powerful force, so if your idea still makes you and others chuckle a cou¬
ple days later, find some way to use it. With that said, don’t set out to be
funny. Try to be interesting.

6. Show it, don’t tell it. One picture may be worth a thousand sales. Find
an image that grabs a reader. Then develop a tagline or headline that
works in synergy with that image, rather than just describing it. Luke
Sullivan says, “Try to solve the problems visually if you can. As larger
brands become globally marketed, visual solutions will become even
more important. Visuals translate better than words. 7
88 CHAPTER 4

7. Don’t be different just to be different. To paraphrase Bill Bernbach, don’t

show a man standing on his head unless the ad sells something to keep
things in his pockets. Sometimes an art director will go crazy with back¬
grounds, weird typography, and other bells and whistles that satisfy
his or her creative muse. But if they don’t add anything to the concept,
don’t do it.

8. Keep it simple. Don’t lose sight of the main idea. You’ve got the con¬
cept burned in your brain, but does a casual reader get it? If not, adding

WAR STORY:

“Start Me Up” and blandly corporate or features oriented. And ulti¬

Say Goodbye: Sometimes mately, I was incapable of accepting the results,

You Can’t Go Home Again which were (to me) un-Wieden + Kennedy-like to the

At Wieden + Kennedy, Charlotte Moore was part of extreme. Not radical. Not interesting. Not moving.

the creative team that helped win scores of prestigious Not what I wanted to be responsible for.

awards for Nike and other clients. After a sabbatical, she The final indignity was the production of a spot

returned to W+K, where she was assigned to the agency’s for the launch of Windows 95, which featured—in

newest client, Microsoft. Here’s her story: fact, was based on—the Rolling Stones song “Start
Me Up” because it was linked, obviously enough, to
I had a creative person’s pie-in-the-sky notions. I the Microsoft Windows “start button” feature. My
was exceedingly romantic about the possibilities, partner had suggested it. (I don’t blame him; it was
and why shouldn’t I have been? What could lend a solution in a tight squeeze, and perhaps from
itself to a wider and deeper (in fact, bottomless) some point of view it was the right thing to do.) But
dialogue than the world of communication, busi¬ I hated the cheapening of a rock classic. I hated the
ness, exchange, technology, creation? After all, isn’t fact that the spot had no idea of its own, other than
that what software really is? It’s a tool, yes, but it’s to throw mediocre visuals of people using comput¬
a tool that invisibly and, if well designed, intuitively ers against a $3 million sound track. And I hated the
serves our most basic human expressions. I was fact that in some way I was responsible, though
ready to delve into it. I couldn’t for the life of me figure out how.
I was not prepared for the client, for the pha¬ So I resigned. It seemed that where the agency
lanxes of “software people” who responded analyti¬ wanted to go was not where I wanted to go. And no
cally, but utterly unemotionally, to creative work. one asked me to reconsider. I did go back to the
I was appalled that the people who made the agency a year later as the co-creative director in
very tools I was so excited about could see only the Amsterdam. I’ve since moved on. But it’s still the
“toolishness” of the tools, and not what they actually agency I consider my workplace, and my pro¬
made possible on the bigger scale. I was frustrated fessional home. I suppose it’s no wonder that
that exciting work that addressed the big issues of I’ve chosen, in its wake, to remain a free agent,
communication and creativity and productivity was taking projects here and there, but with no
routinely shot down in favor of stuff that was more deep commitment.
 CONCEPTING 89

subheads to explain the idea or cramming in extra inset photos won’t

help. Simple ideas break through the clutter; they are easier to remem¬
ber, and sometimes they clarify the strategy.

9. Don’t second-guess the client. Develop concepts that get attention and sell the
product. Then worry about selling them to the client. Don’t handcuff your
creativity by worrying about what the client will like before you begin. The
client hired you to be creative. Otherwise, they’d be doing their own ads.

10. Build a “maybe” file. Most of your ideas won’t work, but don’t throw
them all away. File the better ones. They may be the answer for the next
assignment. Keep a file of the scrap-stock photos, competitor ads,
articles, and other stuff that can trigger some great ideas.

Concept Testing
You should test your concepts at three stages, starting with yourself.

Self-evaluation
You’ve narrowed your stack of rough ideas down to a single concept that you
love. But before you start asking the creative director for a raise, make sure you
do a little internal evaluation of your ideas.

Level 1: Gut check. The first level of testing begins with you. Ask yourself, Does
this concept feel right? If you have the luxury of time, put it aside for a few days
and then ask the same question. This means don’t start thinking about it the
night before it’s due.

Level 2: Two quick tests. The first is the “matchbook test.” Can you put your
idea on the cover of a matchbook and still convey the One Thing about your
product? Another quick test is the “billboard test.” If you have written copy and
laid out the ad, cover up the body copy so you see only the headline and main
graphic. Would it make a good billboard? If so, your creative idea communicates
quickly and effectively. If not, maybe you need to come up with some new ideas.

Level 3: Honest evaluation. Your idea looks good and feels good. But it still has
to meet some objectives. Remember strategy? So before you fall in love with your
idea, ask yourself. . .

• Is this concept doable? Can you pull this off within the budget constraints?
Can you execute it correctly? Do you have the talent? Props? Locations?
All the other things required to make this idea work?

• Is it on target for this audience? You love it, but will the intended buyer?
You might want to try it out on a few people in the target audience—but
don’t rule it out if all of them don’t get it.

• Does it have legs? Will this idea work in an extended campaign? Is it a one-
hit wonder, or can you expand this concept for use in other media?

• Can you sell this to the client? Is this idea so far out of the box the client
will have a heart attack? Can you justify this concept with sound logic?
90 CHAPTER 4

Creative director/account
executive evaluation
The creative director and account executive will also quickly run through
the self-evaluation process listed above. They will also apply a higher standard of
evaluation that includes the following questions:

• Have I seen this before? Chances are, your creative director and account
executive have been working a few more years than you. It’s much better
for them to point out an unoriginal idea than the client.

• Will it grab the reader? What’s going to catch the reader’s eye and make
him or her notice your ad? A former boss said it best: “We need a concept
that’s like a fishhook in the brain.”

• What is the visual-verbal connection? Concepts are much stronger when

the headline and visual work together. When the reader makes the con¬
nection, the ad is more memorable. When the headline describes the
visual, you’ve wasted an opportunity.

• What is the One Thing? Is the central truth evident in this concept? A
good CD can spot it immediately. If you have to explain a concept to him
or her, you’re in trouble. You can’t
rationalize an ad to every reader of
Sarah does not want to play with father. the magazine.

Her father likes the kind of games that hurt.

Soon, Sarah will find some new friends. Client evaluation

They will give her drugs and money Clients are fond of telling their
to make the pain go away. agencies to think outside the box.
What is this “box,” anyway? Typically,
clients confine the box to features and
benefits. Some engineering- oriented
companies think in terms of specifi¬
cations. Marketing-driven companies
think in terms of solving problems
for customers. Your box should
be much larger. Once you start work¬
ing within your bigger box, look for
ways to step outside of it. It’s always
better to have a bunch of crazy ideas
you can pull back into the box than
having the client tell you to be
more creative.

4.18. Looks like an old-style first-grade reading book, right? Look

Do the 1\vist
closer: It’s a very direct and disturbing ad about child abuse. The
Not to be confused with a dance from
old-school graphic approach isn’t aimed at kids. It’s meant to
the 1960s, a twist is an unexpected
attract Baby Boomers who might be hurting their children.
element in an ad or commercial. The
 CONCEPTING 91

4.19. Wolverine took their workingman-oriented “At 4.20. Sometimes being edgy just means being goofy. To promote their
least his feet are comfortable” theme and twisted it breakfast items, Burger King wanted people to “Wake up with the King.”
into a “thong in cheek” approach. Sexist? Maybe. In this TV spot, a mascot with an absurd plastic head shows up in this
Tasteless? Possibly. On target for guys looking at the guy’s bed. BK’s agency said the ad was designed to appeal to the ironic
Sports Illustrated swimsuit edition? You bet. But does it bent of cynical 18-35-year-olds.
sell work boots?

most obvious example is the recent commercial for Pepsi

Twist (the name is a fortunate coincidence) in which the
Osbourne children unzip their skins to reveal they are
really Donny and Marie Osmond. That’s a twist. But
“Advertising needs to have a
there’s one more. Ozzy wakes up from this nightmare to
find his wife is really Florence Henderson. It’s hard to bit of an edge, whether it's
figure out which of them should be more scared. aimed at the neighborhood
Here’s another TV twist: A prosperous-looking or the world ”
retired couple relaxes on their sailboat in the Caribbean.
—Phil Dusenberry8
It looks like an ad for a mutual fund, insurance company,
or arthritis medication. The twist? It’s actually a com¬
mercial for paper shredders. It seems that this sweet old
couple stole your credit card number and are now living
the high life because you didn’t shred your receipts.
92 CHAPTER 4

Finding the edge

It’s starting to become a cliche, but
people are still looking for an edge—
some kind of creative device to sepa¬
rate their advertising from the rest of
the pack. “Edgy” ads take risks. They
may push the envelope (another over¬
used term) to the breaking point.
In summary, creatives who work on
the edge:

• Risk offending general audience

to appeal to target audience.

• Shock the reader/viewer into

noticing.

• Drive a wedge between “our

customers” and everyone else
(us versus them).

Going for the edge may seem

like the perfect approach. If you
are willing to offend or confuse a
large share of the total audience to
make a stronger connection to a

4.21. From the infamous Abercrombie & Fitch Christmas highly defined target audience, it
catalog. Nothing expresses the spirit of the season like a might be OK. However, never forget
bunch of flawless young white people sleeping under the tree the risks of pushing the envelope
buck naked. Future catalogs may be just as racy, but the too far. Before you cross that
models will probably be more diverse, after a 2004 court line, you should review Chapter 3
settlement that requires A&F to institute a range of policies and reconsider.
and programs to promote diversity to prevent discrimination
based on race or gender. The line between edgy and ethical is
very thin indeed.

4.22. A nice play on words ... but unfortunately a group of needlepointers took issue with being called “old bats.” The billboard was
modified so it would not offend.
 CONCEPTING 93

Yeah, we know, cleaning up sucks. So who’s going to do ir? Your mom? Get the best vacuum trimmer for no mess-

guaranteed. A powerful vacuum sucks up hair as it's trimmed. The patented AcuControl system gives you control over

each hair you trim for precise results every time. Anything else is just a mess. @ NORELCOAccuyac

4.23. One of a series of Nike ads supporting disabled athletes. 4.24. Sure, it’s a play on words (because the trimmer cuts and
The campaign uses what could be seen as disturbing photos vacuums), but does using vulgar slang grab your target audience
and matches them to positive copy. The net result is you don’t or just seem like you’re pandering to them?
feel sorry for these guys, you admire them.

How to give
your ads an edge
The lazy way—nudity, sex, violence, offensive language: In an attempt to be edgy,
some creatives use words and images that may be controversial to the general
audience, without regard to the consequences. However, this approach may be
on target for their intended audience. For example, an ad featuring gratuitous
nudity in Playboy would not be very shocking. The same ad in Reader’s Digest
would be scandalous. Creating an ad just for shock value, rather than to sell
something, is usually a losing proposition. So many TV commercials use crude
bathroom humor, frat-house sexual jokes, and slapstick violence that they don’t
really create an edge anymore.

Music/sound effects: Using hip-hop or hard-core rap to promote a car to 20- to

30-year-olds makes sense, but don’t expect Baby Boomers to dig it. Using Led
Zeppelin for Cadillac was kind of edgy, since their primary owner base of
94 CHAPTER 4

septuagenarians probably said, “What’s with that hippie

garbage?” But for aging Boomers, rock ’n’ roll resonates.
WORDS OF WISDOM
Us versus them.: Depending on your target market, you
"Comfort the afflicted. Afflict can pit young against old, men against women, slobs
the comfortable ” against snobs, gays against straights, jocks against nerds,
—Carl Ally9 or any group against another. The approach is, “We’ve
got the product just for you, not those other people.”

Inside, jokes!slang: Talk to a snowboarder about “grabbing some really sick air”
and you’re cool. Say the same thing to his grandfather and he’s thinking about
his bathroom. It only works if your target audience believes the advertiser is one
of them. Nothing bombs like a 45-year-old trying to talk like an 18-year-old.

Production values!design: The advent of MTV forever changed the way we pro¬
duce commercials. Music video production techniques have found their way
into all media. Jump cuts. Bizarre camera angles. Grainy, out-of-focus, blurred
images. Unreadable type. Ambiguous messages. You’ll find them wherever some
writer dr art director wants to push the edge.

4.25. When you’re promoting a hard-core record label, you can get a little edgy—and a
little messy, as in this student-designed ad.

Before you get edgy:

• Understand the tolerances of the total audience.

• Really understand how far you can push your target audience.
 CONCEPTING 95

• Consider the risks (legal, ethical, business).

• Check your personal moral compass. Are you proud of the work?

• Be able to defend your idea logically, not just because you think it’s cool.

• Have a backup idea.

• Don’t try to be different just to be different.

• Get paid before the client goes bankrupt.

What to Do
When You’re Stuck
Everybody develops writer’s block. Sometimes the slump lasts a few hours, some¬
times a lot longer. Novelists have the option of waiting weeks and months for
inspiration. Copywriters don’t. So what happens when that blank sheet of paper
becomes your worst enemy? We offer the following suggestions:

• Back up. Find out where you are, and you might
know why you’re stuck. Do you understand the
product, the market, the target audience, the
competition, and the tone? Did you miss some¬
thing? Do you have enough information to “say it "Rarely have I seen any really
straight”? If so, you are very close to finding ways
good advertising created
to “say it great.”
without a certain amount of
• Go back to the books. Dig out old issues of
confusion, throw-aways,
Communication Arts and CMYK. Check out new
Web sites that feature award winners. Leaf
bent noses, irritation and
through the stock photo books. downright cursedness ”
• Talk about it. Find a sympathetic ear and state —Leo Burnett10

your problem. Don’t ask for ideas. Just explain

what you know about the assignment and where
you’re stuck. You might find that by explaining it
out loud, you’ll find the solution yourself.
Sometimes you’ll mention an idea that seems kind of lame to you and
another person loves it. They might give you just enough encouragement
to turn it into a great idea.

• Take a break. See a movie. Watch TV. Play basketball. Dig in your gar¬
den. Do something totally unrelated to work. This will unclog your mind
and may allow some fresh ideas to sneak in. (Just don’t let your break
extend to an hour before your assignment is due.)

• Don’t expect to find inspiration in drugs or booze. You might develop a

good idea by getting high. Under the influence, just about anything seems
like a good idea. It’s just not smart for your career long term. You’re a
professional doing your job. Deal with it straight!
96 CHAPTER 4

4.26. Hitting a brick wall is every writer’s worst nightmare.

Source: Illustration by Dan Augustine.

Who’s Who?
Carl Ally—Cofounder of Ally & Gargano, Carl Ally is known for cutting-edge
and risky advertising that spoke very bold truths. Some of his breakthrough
advertising included work for FedEx, Hertz, Dunkin’ Donuts, Volvo, Fiat, Saab,
MCI Communications, Polaroid, IBM, PanAm, Piper Aircraft, and several
others. He was the man responsible for winning a change in television rules
against mentioning the competition in commercials. He was not afraid to take
on corporate underdogs, and he changed many unknown companies into house¬
hold names. He enjoyed taking on accounts that were new or troubled, and he
built brands up from almost nothing.11

Phillip Dusenberry—Phillip Dusenberry joined BBDO as a copywriter in 1962

and developed into one of the world’s most influential creative forces as he rose
to vice chairman at BBDO Worldwide. His impact came chiefly from memo¬
rable General Electric and Pepsi-Cola campaigns (including a megamillion-
dollar deal with Michael Jackson). Dusenberry also played a major role with
advertising’s volunteer Tuesday Team, whose “Morning in America” commer¬
cials helped reelect Ronald Reagan. His screenwriting credits include “The
Natural,” starring Robert Redford.

Charlotte Moore—Born in Chattanooga, Tennessee, and educated in Virginia,

Charlotte Moore is a southerner who found a spiritual and professional home on
the West Coast when she began to work for the creative hot shop Wieden +
Kennedy. Over the course of almost eight years, she worked as art director and,
 CONCEPTING 97

eventually, group creative director on accounts that included Nike, Microsoft,

and Coke. She did her most exceptional work with her partner of many years,
Janet Champ, on Nike’s print advertising for women. She left the agency in the
fall of 1995 but returned as co-creative director of its European headquarters in
Amsterdam. Ambition was interrupted by love, however, and she followed her
heart to Italy, where she currently lives with her husband and children, and pur¬
sues creative projects sometimes for money, but more often for personal reasons.
Along the way, she has been recognized by CA, One Show, and McCall’s
Advertising Women of the Year, and has received four nominations and two back-
to-back wins in the MPA’s Kelly Awards for best, most effective print advertising.

Luke Sullivan—An award-winning copywriter (twice named by AdWeek as one

of the top writers in the United States), Luke Sullivan is also the author of a very
nice book about copywriting, Hey Whipple, Squeeze This, which should be
required reading for anyone who is serious about a career in copywriting.

Notes
1 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/spivak.html
(accessed January 10, 2005).

2 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/goodby.html

(accessed December 15, 2004).

3 See “Allegedly Out-of-Date Comparative Advertising Triggers Lawsuit,” August 14, 2003,
on the By No Other Web site, http://www.bynoother.com/2003/08/comparative_adv.html
(accessed June 3, 2005).

4 Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (Hoboken, NJ:
John Wiley, 1998), 52.

5 Morris Hite, Adman: Morris Hite’s Methods for Winning the Ad Game (Dallas: E-Heart,
1988), 165.

6 Leo Burnett, 100 LEO’s: Wit and Wisdom from Leo Burnett (Chicago: NTC Business
Press, 1995), 52.

7 Sullivan, Hey Whipple, Squeeze This, 37.

8 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/dusenberry

.html (accessed December 20, 2004).

9 Quoted in Cristin Burton, “The Life and Career of Carl Ally,” March 31, 2004, http://
www.ciadvertising.org/sa/spring_04/adv382j/cristin44/home.html (accessed June 3, 2005).

10 Burnett, 100 LEO’s, 7.

11 See Burton, “The Life and Career of Carl Ally.”

 "9

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Design for Writers

I’m not a designer.

Ah! But your eye went right to what you hoped would be the answer. By the
end of this chapter, you’ll understand and appreciate why your eye traveled as it
did and be able to answer the question, Why me?
Design for copywriters is in many ways just like design for art directors. The
biggest difference is we won’t hold you accountable for design and layout per¬
fection. That’s where your partner the art director comes in. However, in the
classroom, or if you’re not working in an agency, chances are you’ll be both the
copywriter and the art director.

Why Writers Need "Type, photography,

to Be Designers Too illustration are tools. You
need to know how they
Have you ever seen a copywriter’s portfolio filled with
nothing but copy sheets? Precisely. If you want to get a work ... if you can’t use
job, an internship, or even a foot in the door, you’d the tools, you really can’t
better learn how to put your concepts into visually inter¬ make a good idea work.”
esting layouts. Copy doesn’t exist in a vacuum. You need
—Helmut Krone1
to marry copy to design within an engaging layout.
Mind you, we didn’t say perfect—we said interesting
and engaging.
100 CHAPTER 5

Just what makes a layout interesting? We’ll get to that

a bit later. First, let’s consider why copywriters need to
understand design:

• Words and visuals do not exist in isolation.

• The creative should engage the audience visually

and verbally.

• Design helps express the big idea and sell the product.

• -Portfolios are important, and presentation matters.

• Multiple skills increase your value.

• Knowledge is power.

This last one deserves a little more discussion, even if

you’re never going to be a creative. Fine. Now, imagine
yourself as an AE who can speak the language of creatives
and clearly articulate their ideas to the client. Think you’ll
climb the ladder quicker? 5.1. This classic VW ad was actually
the art director’s rough. It was perfect
Don’t throw your pencils away because it ran as the finished ad in 1980,
when gas rose to the outrageous price of
We know you all love computers and would rather start
$1.00 per gallon.
creating ads than reading this textbook. But you need to
pick up a pencil first. Believe it or not, it’s also a design
tool. Design starts in your head, flows onto paper via your pencil, and is executed
using your computer. Yes, you’ll use a computer, but you’ll need to use it wisely.
Don’t use the computer to go shopping for ideas. Your ideas (concepts)
should first be expressed as thumbnail drawings. Remember the order: head,
paper, computer. You’re the genius, not the computer.
Use technology wisely. If you’re seriously thinking about going into design or
production, you’ll need to be competent in the programs that are the current
industry standards. Using the programs you already know, or simply like, just
won’t fly. At the very least, learn the basics and move on.

Basic Design Principles

Artists define design principles in their own way, and some write books about
them. All those opinions might seem confusing, but in reality it’s a matter of
perception and preference. We each tend to be comfortable with slightly varying *
definitions. As you peruse design books, you’ll begin to see how concepts and
principles overlap. We’ve chosen to discuss the following Four Principles of Design:

1. Proximity

2. Alignment

3. Balance

4. Unity
 DESIGN FOR WRITERS 101

yesterday i was doing

Proximity
soice grilling vben ay Robin Williams (not the actor), in a
neighbor case over and »oid,
great design book for nondesigners,
says, “The principle of proximity
"a cow was ssurdored states that you group related items

just for that steak!"

together, move them physically close
to each other, so the related items are
and i caac to thinking.
seen as one cohesive group rather
than a bunch of unrelated bits.”2
s.he>» right.

Another way to think about it is

X enn’t ait by while
grouping those items while con¬
a whole cow ig
sidering both human emotions and
killed just for a
your advertising objective. When
juioy grilled t-bone.
you’ve tapped into the audience’s
emotions you’ve hooked them. Use
so today 1 bought
proximity—that is, how elements are
a leather jacket. placed—as a hook.
The principle of proximity helps
designers and art directors (we’ll use
these words interchangeably) work to
bring the strategic concept to life.
Physical closeness can bring the
visual(s) and the copy together in a
strategic way. Conversely, items can
strategically be placed further apart,
adding separation.
i aa a ©an. Proximity creates strategically
a compassionate ua«. designed associations that enhance
o grilling nan- visual flow. Let’s take a moment to
explain this concept and some
design terminology.
Visuals are the images that support
cbarooai
the copy. They are almost always
either photographs or illustrations.
Avoid using the word picture. It tends
5.2. This beautifully written ad (by a student) uses text to
to connote a photograph, and this can
create a vertical visual flow right to the logo.
confuse people or lock you into an
unintended concept.
Visual flow refers to how readers’ eyes follow the lay¬
out. As a designer, you’re in charge of the visual flow based
on strategic design objectives. More about this later.
WORDS OF WISDOM
Imagine how you might intuitively group the elements
in your layout. How do you see them fitting together? "I can’t just write an ad.
When we speak of elements we are not just talking about I care how it looks as well
the visuals in your layout. We are talking about type (copy),
as what it says.”
lines, space, and the visuals. The challenge with the prox¬
—Hal Riney4
imity principle is to make all the elements work together
strategically. Remember, the designer is in charge of how
the ad is read—to graphically drive the One Thing home.
102 CHAPTER 5

5.3-5.4. The proximity of the type to the visual makes these ads work.

Alignment
Consider alignment as expressing what is rhetorically important. In other words,
make the verbal visual. Each element should have a visual connection to another
element. Nothing should “hang” alone. Nothing should be placed arbitrarily.
How will you align or organize the elements on the page?
Prioritize. It’s an important concept across the creative process. Prioritizing
helps you create alignment and thus stronger visual flow.
Some novice designers start by centering the headline or the visual and every¬
thing that follows. We are not suggesting that you never center anything, because
sometimes a centered layout is perfectly on strategy and quite interesting. (The
Matchlight ad on page 101 is a good example.) But centered layouts can be bor¬
ing and predictable. Rather than following a formula, it’s better to let the strate¬
gic message, the big idea, guide your alignment.
Lines are the basic tools of alignment. Lines are (a) the edges of visuals,
(b) the ends of lines of copy, (c) the edges of blocks of copy, or (d) actual lines.
Robin Williams explains how lines work: “In any well-designed piece, you can
draw lines to the aligned objects, even if the overall presentation is a wild
collection of odd things with lots of energy.”3
 DESIGN FOR WRITERS 103

In essence, the direction the reader’s eyes move should be defined by the end
of one line and the beginning of another. Take a close look at some layouts you
admire. Try to trace the alignment. The more you practice this, the better you’ll
understand how using lines—that is, alignment—works.
Lines, of course, can be literal. They can, with li near motion, define space or
give direction. Lines can be created by other elements of design, such as blocks
of type. How type is justified, or how it fits within the text box, is an important
part of alignment. In the end, remember: Nothing is placed arbitrarily, even in
chaotic layouts.

5.5. Lines contain, suggest space, give direction, and 5.6. Here lines convey meaning. The border and other lines define
convey meaning. this as a blueprint.

Balance
Balance and its counterpart contrast are very important design concepts. Every
layout you execute should reflect a clearly defined sense of balance. Symmetry
and asymmetry are other ways to talk about balance. A symmetrical layout can
be very calming and, for certain products, the perfect choice. But more often
than not, a perfectly symmetrical layout is also boring. Asymmetry brings con¬
trast, which creates visual interest and is one more way to hook the reader.
104 CHAPTER 5

Contrast can be achieved through size, type, weight, color, texture, and space.
All elements in a strong layout should be balanced in opposition to one another.
You will always find contrast in a visually balanced layout. How much contrast
is up to you.
« If you’re unsure about this principle, consider mirroring. Try to reflect the
opposite weight, shape, or size in another part of your layout. Once you’ve mas¬
tered how to balance visual elements evenly, you can advance to create uneven
or asymmetric layouts. White space, also known as negative space, is more
than just the unused portion of the layout—more than just a background.
White space has optical weight. Consider that weight when you’re working
toward balance or contrast. Why use white space? Our eyes sometimes need
a rest. White space offers that. It can also frame elements or form a base
on which an element can visually rest. White space can draw attention to a
headline, copy block, or visual. Respect white space. It’s an art director’s and a
copywriter’s friend.
When it comes to balance, we suggest being adventurous. Make your choices
matter. Opposites really do attract. Once you’ve taken a chance, stand back and
take a look. The well-trained eye is more quickly able to judge balanced layouts.
Peruse (1A, CMYK, Archive, and the myriad other creative magazines available to
you and become a visual professional.

Unity
As a design principle, unity probably has the closest relationship with alignment.
When a layout is unified, all the elements form a visually cohesive whole. One of
the fundamental ways to achieve unity is through repetition. Just as with writing,

HELLO
my name is

5.7. White space: What you don’t see is important. It draws the 5.8. Negative space puts the focus on the main graphic, which in
eye to the main graphic in this ad designed by a student. this case is also negative space.
 DESIGN FOR WRITERS 105

5.9. In a symmetrical design, each side of the ad is given equal weight. In this case it’s up to the reader to decide if the car weighs
more than the woman.

repetition can bring harmony and

coherence, and thus unity. You
can bring repetition into play with
shape, color, type, line, and placement.
Creating a thematic quality through
repetition unifies a layout. Another way
to enhance unity is by using the concept
of image-dominant and type-dominant
layouts. When deciding between an
image-dominant and a type-dominant
layout, your thoughts should be guided
by your creative strategy. What will best
convey the big idea? Once you deter¬
mine the most dominant element of
5.10. An asymmetrical design gives more weight to one side
the layout, unity emerges as the other
of the ad. Here the emphasis shifts to the right with the
elements are placed in subordinate
inclusion of the person endorsing the jeans. But the imprint relationships to the dominant element.
of her jeans in the middle helps hold the spread together.
Remember how we keep talking
about prioritizing?
For copywriters, a good way to
think about unity is to consider thematic qualities in writing. You don’t change
the subject of a conversation in midsentence, so don’t change your design theme
in midlayout. Carry your visual concept throughout the ad. From top to
106 CHAPTER 5

bottom, left to right. When you

design an ad, ask yourself, “How
well does everything hang together?”
If the answer is “Pretty darn well,”
you’ve probably achieved unity.

How to Develop
Better Layouts
Robin Williams offers a very simple
yet effective approach to creating
better layouts: “See it. Say it.
Sketch it.”5
5.11. Repetition is a way to achieve unity. In this student-
designed ad, the whole is greater than the sum of its parts. Not # gee ^ start Peeping a file,
to mention great use of symmetry and white space. scrapbook, or morgue—in
other words, a collection of
ads that you like. Learn to file
anything that strikes you. Your scrapbook will be a great resource for
ideas. Use it before you start concepting. Or when you’re stuck. It’s bound
to trigger some fresh ideas.

• Say it. Write down why you like the ads you’ve selected. What makes
them sing? Which of the four design principles are strongest? What made
each one stand out? What caught your eye? If you can articulate why you
like a certain ad, you are well on the way to defending your own ideas.

• Sketch it. Remember Planet Schlock? Sometimes those dreadful ads

inspire great new ads. Cut the schlocky ad apart and rearrange it. Or take
a piece of tissue paper and draw over it. Make it better. This process may
just inspire a great design for your next ad. The point is to put something
on paper. You may be tempted to jump on the computer before you have
a concept. Don’t. Scribble something down first. Try some alternatives.
When you’re happy with your rough, then turn on your computer.

Typography
Like many of the design choices you’ll make, the selection of type and color goes
a long way toward enhancing awareness and building strategic comprehension.
To begin, we’ll address the basic components of type, also referred to as typefaces
or fonts. Technically, these terms have slightly different meanings, but for copy¬
writers we’ll consider them interchangeable. No matter what you call them, do
not mix too many fonts in the same layout. Multiple fonts, without any strate¬
gic purpose, often do nothing but tire the reader’s eyes.
Typography has its own language, and if you’re going to work in, or with, a
creative department, you need to speak some of the language. We discuss a few
of the most important terms in the following section.
 DESIGN FOR WRITERS 107

Looking for Inspiration?

Turn on the Tube
While I was conducting research on Nike women’s
advertising, a copywriter from Goodby Silverstein, in San
Francisco, shared a wonderful story with me. The strat¬
egy was to connect running to women’s everyday life
activities. He and the AD were stuck and had been for
two days. One night while watching TV, he noticed TV
Guide lying on his coffee table, and the idea hit him.
Embed images of running into the documents of every¬
day life: time cards, e-mails, restaurant order forms, tel¬
evision program listings. The campaign not only worked
for Nike, it earned a ton of awards.
—Jean Grow

Serif/sans serif. Serif typefaces have little tails (serifs) at the ends of the strokes.
Sans serif fonts do not. Probably the most important thing to remember about
serif versus sans serif is that the serifs tend to make the type appear more flow¬
ing and easier to read. Conversely, sans serif type tends to be more stiff or edgy
and perhaps a bit more dramatic.

Weight. When we speak of the weight of type, we mean optical weight. One
font may be much heavier than another. That is, the strokes are much more sub¬
stantive, making each letter visually heavier. The most common designations of
type weight are: light, regular, medium, and bold. You may also see terms
such as demi, as in demibold, which is sort of in between medium and bold.
You can also choose extra bold.

Size. Type comes in many sizes. In the world of graphics we refer to the size, or
the height, of type as its point size. Interestingly, many styles of type vary slightly
in height even if the point size is the same. Looking at these two fonts, both in
16-point type, can you see a variation in height?

Times New Roman and Arial

Generally the size range for body copy is anywhere from 8 to 12 points.
Knowing your audience will help you decide what size is most suitable. Display
copy (headlines and taglines) is often larger; 36 points and above is not uncom¬
mon. The main objective is to go beyond legibility and make your copy inviting
to read. So resist the temptation to shrink your type size down to 8 points
to make your copy fit. It’s better to cut some of your copy than to make all of it
108 CHAPTER 5

hard to read. The point sizes suggested, like much of what you read in this book,
are guidelines. They are not hard-and-fast rules.

Structure and form. A designer would undoubtedly separate these two elements.
Form refers to shape of type, while structure refers to how the letters are techni¬
cally built. To really get into the nitty-gritty details, we’d have to explain to you
how types come in families, but that’s a story for a design book. For now, let’s
just talk about four styles of type.

Styles of type
Old Style
This type represents the first generation of type. It emerged out of old hand-
lettered type. It always has serifs.

Bookman Times Garamond

Modern
As the mechanisms of printing evolved , so did type. Modern type is a reflec¬
tion of more sophisticated printing capabilities. It represents the evolution from
hand lettering to mechanized printing. Modern type often has serifs

Perpetua Eurostile Trebuchet

Script
This family of type is designed to be reminiscent of hand-lettered type. Not
hand lettering as with old style type—rather, it appears to be type done by a cal¬
ligrapher using a brush, pen, or pencil. Script fonts are both serif and sans serif.
A word of caution: Script fonts are fine for display type or special emphasis, but
you’ll probably want to avoid using them for text.

‘SnuoASotiftt EFzench (Script LuXyCcLct/

Decorative
In many ways decorative type is defined quite well by its name. These fonts
are meant to be decorative, to stand out. Rarely will you see these types used in
body copy. More commonly they are used as display copy.

Papyrus Copperplate Ad lib

Placement
In short, we are talking about how type appears within your layout. As the
designer, you have many choices. Every choice has the potential to alter the
appearance of the type within the layout. Make each choice count. How you use
type can convey messages far beyond the actual printed words.
 DESIGN FOR WRITERS 109

Reverse and Overprinting

This has nothing to do with reading backward. Reverse type refers to

type that is white (actually colorless) because it “reverses” out of a block of
color. Beware of using reverse type on low-quality paper. It will tend to
bleed, and you may not be able to read your copy clearly. For new design¬
ers we suggest using this technique sparingly.
- ■

Overprinting is just the opposite. It simply means the type ,

black) is printed over a lightened (ghosted) image, texture, or tone.

Spacing. This refers to the spaces between the letters, which can vary from font
to font. Spacing can also be varied mechanically through something called kern¬
ing, in which one stretches or contracts each piece of type across a line or within
a single word. How spacing is used with type has many connotations. Consider
how type can express the feeling of

C O L D & WARM

Leading. Typesetters used to work with individual letters cast in lead, with bars
of lead between the lines of type. Leading (pronounced “ledding”) is the space
between rows of type. The amount of leading depends on the size of type, and
the relationship between the two is indicated as type size/leading. In this text, it’s
11/13, that is, 11-point type on 13 points of leading (see Table 5.1).

Table 5.1 Leading

10/12 12/16
The lines
The lines
become
more compact. become
farther apart.

Table 5.2 Justification

Center justified simply means the type is centered.

Right justified (as in Arabic literature) means the type lines up on the
right side of the page and is “ragged” on the left.

Left justified (as in Western literature) means the type lines up on the left side
of the page and is “ragged” on the right.

Justified means that the type is spread evenly across the page, column, or copy block and forms
smooth edges both right and left no matter how many characters there are per line (as you would
see in most daily newspaper columns).
110 CHAPTER 5

Justification and alignment. Like form and structure, alignment and justifica¬
tion are not exactly the same. However, once again we are taking liberties and
lumping them together. Text alignment refers to where the type lines up in rela¬
tionship to all the elements within a layout. Justification refers to where type
begins and ends within the copy block, column, or line. There are four kinds of
justification, as illustrated in Table 5.2.

Making type look better

Back in the 1980s, art directors would “send out” for type. A runner (often a guy
on a bike) would pick up copy and return with “galleys” of typeset text, which
the art director would literally paste into the layout. But even with profession¬
ally set copy, the layout artist usually had to do some fine tuning with an X-Acto
knife to make it perfect. Now we do all of that electronically with a few key¬
strokes. But the basic idea is the same. The following are a few ways to ensure
that the type in your layout looks its best.

Watch for Widows

t
When jyou see a line of type with only one or two words, it’s what we call a
widow.

As you can see above, a widow doesn’t look good, it interrupts the flow of the
copy and wastes space. You can get rid of widows by lengthening or shortening
the copy, changing the font size, or adjusting the kerning.

Pick a Display Font That Matches the Tone of Your Ad

Type plays a big role in creating resonance in the reader. For example, which
of the following best matches the brand image of a Chevy truck?

UKE A ROCK £ikea&loc/i

Use Restraint When Selecting Fonts

Just because you have 1,200 fonts in your computer doesn’t mean you have to
put all of them in one ad. If you mix fonts, do it for a reason—for special empha¬
sis of key words, captions, or other stand-alone copy blocks, or for display type for
headlines and taglines. You don’t have to use the same font for everything. When
in doubt, print out several versions with different font choices and then decide.

Serif fonts are generally easier to read in long copy blocks. Most newspapers,
books, and magazines use serif fonts because they are considered easier on the
eye—something to consider for ads with long body copy. For short blocks of
copy, headlines, and stand-alone copy, just about anything goes.

Reversed copy is usually more difficult to read

If you reverse copy (white on black or a dark color), make sure it’s legible.
You might have to increase the font size by a few points and use a heavier face.
 DESIGN FOR WRITERS 111

Break Headlines
Sensibly

With large display type you can only fit a few words on a line. So be careful
where you break longer headlines. It could change the whole meaning of the ad.
Sometimes you can use that for dramatic effect, as 7-Up tried to do a few years
ago with

MKil
UP YOURS

Keep It Readable, Not Just Legible

Make it inviting to read. If you took the time to write copy, why make it hard
for the reader? Leave enough margin (remember white space?) so the eye is
drawn to the copy. Don’t cram so much copy in that it becomes intimidating to
read. Use enough leading so you don’t have a “mass of gray” rather than distinc¬
tive lines of copy.

5.13-5.14. With literacy declining and attention spans becoming even shorter, it’s not a good idea to make readers work hard to find
a headline or decipher copy. The first priority is to make it inviting to read.
112 CHAPTER 5

Color
Starting with the basics, think of colors as primary and secondary, warm and
cool, or complementary or contrasting. From a designer’s point of view, here are
two key points:

• The human eye is most comfortable looking at warm colors.

• Complementary and contrasting colors should work for you to visually

enhance your strategy.

Whether you’re using warm or cool colors, or engaging complementary

or contrasting colors, you also need to keep in mind the social and cultural
connotations attached to each color. Just as with words, colors can have
multiple meanings. Think of the social and cultural meanings of each color. Then
weigh those meanings against the brand, the colors associated the brand, and its
competitors. Also consider your audience’s sensibilities when making color
choice^. Finally, remember color may be applied to many elements of a layout:
type, line, and backgrounds. Visual images too have an expressed color pallet.
Make wise choices that you can justify. Some questions to help you select color:

• How will color enhance the big idea/that One Thing?

• Are your color choices in keeping with the strategy?

• Does the color support the brand?

• Will the audience relate positively to the colors?

• What is your justification for each color choice?

Color considerations
How an audience relates to color depends on many variables:

Culture

Depending on the culture, colors can have very different meanings. For
example, in parts of Asia, white is the color of funerals, while in the West white
is the color of weddings. Know and respect cultural connotations.

Age

Young children tend to prefer bright, solid colors, while adults tend to pre¬
fer more subdued colors. If you’re designing an ad for a young audience and *
you’re using muted pastels and shades of gray, their parents might like it, but the
kids may ignore it.

Class

Class, like age, influences our perceptions because our experience of the world
varies. Marketing research in the United States has shown that working-class
people tend to prefer colors anyone can name (blue, red, green, and so on) while
more highly educated people tend to prefer colors that are more obscure (such as
taupe, azure, mauve). Some designers say this is why Wal-Mart uses bright red
 DESIGN FOR WRITERS 113

and blue in their logo. Another theory is that red and blue were Sam Walton’s
favorite colors. So, be aware of class differences, but don’t overanalyze them.

Gender
In many cultures, men tend to prefer cooler colors (blues and greens) while
women tend to prefer warmer colors (reds and oranges). Western men are also
more likely to be color-blind and so unable to see some differences among
colors. While it’s important to note the difference between men’s and women’s
perceptions of color, don’t let obscure differences in color preferences take prece¬
dence over good creative ideas.

Trends
Color, like everything else in design, is influenced by trends. Consider the
Web as a point of reference. Black was the rage a few years ago, and now you
hardly see it (but it will surely come back into style as we write this). Colors also
tend toward seasonality. In other words, color choices reflect the season they
were designed for: blacks, whites, and grays for winter; greens and bright colors
for spring; yellows for summer; and browns and golds for fall.6 Try to stay on top
of trends, but don’t let them drive your color decisions.

Here are a few specific color terms you’ll want to know:

• This stands for primary colors (red-^een-Mue). It’s an option when

saving colors for Web use and Photoshop work in progress, but not for
print-based material.

• CMYK:T\\\s acronym refers to the colors that printer use and also the way
you will need to save colors in electronic layouts. It means cyan, magenta,
yellow, and £lack—the colors of a four-color (not full-color) layout. The
four colors are mixed in various percentages to create a color image. If
you’ve ever had the yellow ink run out on your ink-jet printer, you already
know how the four-color printing process works.

• PMS colors: PMS (acronym for the trademarked Pantone Matching

System) describes a set of custom colors used by designers. PMS colors are
standard across the printing industry (at least in North America—European

DILBERT

I DID SOKE CHECK¬

ING AND FOUND OUT
THAT ALL THE GOOD
IDEAS HAVE BEEN
USED. THIS IS ALL
THAT'S

5.15.
114 CHAPTER 5

printers like to use the percentages for CMYK). PMS colors are referenced
by numbers, such as PMS 1032. The beauty of PMS colors is that they
can be matched identically by any designer or any printer. PMS colors add
consistency to corporate identities and campaigns.

• Spot color: This simply means the use of one (or more) color in an other¬
wise black-and-white layout. It often has a dramatic effect and is particu¬
larly common in newspaper advertising and low-budget collateral work.
Spot color can also refer to one of the colors in the layout being a PMS
color. For example, a four-color brochure may add a fifth color, which is
a specific PMS color, for a corporate logo because it can’t be matched
exactly in the four-color printing process. When you hear “two-color” it
actually means black and a second color.

• Ghosting: Ghosting, also called “screening back,” means an image is repro¬

duced at less than 100% of the color density. If you want to ghost an image
and run copy over it, a good starting point is screening it back to 30% or less.
The “busier” the background (lots of contrast in the visual), the more difficult
jt will be to read overprinted type. You can “knock
back” the background, change the background
visual, or use larger type that’s easier to read.

• Gradation: This refers to the color shifting from a

greater to a lesser intensity or completely fading as
it moves across the visual element. For example,
you may want a dark blue background at the top
of the ad so you can reverse out a large white head¬
line and then have the ad gradate to light blue
toward the bottom because you want to overprint
black body copy.

• Bleed: When the color or type runs to the very edge

of the page, it “bleeds” off the page. When your
background has no border, it “bleeds.” Sometimes
it’s a problem to print a full-page bleed ad on an
ink-jet printer. You either have to make the image
smaller or find a printer that prints a larger sheet
and trim it to a bleed.

Layout Basics
Visual hierarchy, or visual flow, as we’ve been calling it,
tends to be a problem area for many beginning copywrit¬
ers who are forced to be their own art directors. Usually all
the elements are there, but they just don’t work together.
AppleMusic.com
The eye doesn’t know where to go first, and so the whole
layout looks confused.
5.16. This top-down design draws the eye
In terms of layout design, there are three very
right to the Web site (with a tiny Apple
commonly used visual flow patterns. First, there’s the
logo in the upper right).
top-down layout, where the elements are centered and
 DESIGN FOR WRITERS 115

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5.17. Even account execs can find the Z in this design. 5.18. Leave it to Porsche to take a shortcut with this
upper left to lower right design.

flow from top to bottom. Sometimes it’s very effective.

You might want to start with this approach. Then exper¬
iment with something less predictable.
WORDS OF WISDOM
The second pattern is called the Z or backward S pat¬
tern. In Western cultures, our eyes tend to begin reading “Advertising is not a f—ing
a page in the upper left corner. Next, our eyes naturally science! Advertising is an art
flow to the right side of the page, just like when we read
No question about it."
a book. Then our eyes travel down and, in the process of
scanning, move from upper right to lower left. Can you —George Lois7
imagine the Z or backward S configuration? This classic
pattern is the reason you so often see the logo anchoring
the lower right corner of a layout.
The third visual flow pattern lets you take a shortcut.
With the upper left to lower right layout, you basically
start and end at the same place as with the Z—you just get there faster.

Layout patterns
Any given design text will list a number of common organizational layout
systems or patterns. We’ve simplified it down to three:

1. Grids

2. Columns

3. Chaotic
CHAPTER 5

5.19. This grid design is also functional. The insert is printed on card stock and perfo¬
rated so the reader can create separate cards.

You can experiment with each of these layout systems by using that wonderful design
tool—the pencil. Quickly rough out four or five thumbnails, sketching in only copy
blocks, display copy (as scribbles) and visuals (as solid shapes). Use any one of these
systems as a jumping-off point. Before you know it you’ll be on your way.
Grids (also know as Mondrian layouts) are simply a systematic way of divid¬
ing up space using geometric patterns, beginning with the basic rectangle that
makes up your page. Grids allow us to see how elements of a layout might be
organized. Consider how many elements you have in your layout. That will help
you decide how many blocks you’ll need to create within your grid.
Don’t think of a grid layout as a stack of blocks or a boring “checkerboard”
where you have to fill in all the squares. You have a bit more creative latitude. You
can use white space and asymmetrical alignment, for example, to create visually
interesting grid layouts. From a practical standpoint, grids are easier to build for
both print ads and Web sites—which are really collections of interconnected tables.
Columns are much like grids. In fact, sometimes the terms are used inter¬
changeably. We discuss them separately to help you see how columns are really
just vertical grids. Sometimes, for beginning designers, thinking of columns and
grids separately can help them conceptualize and organize more easily.
 DESIGN FOR WRITERS 117

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5.20. Another classic grid. Mondrian 5.21. A grid design with a “violator” in 5.22. Grids don’t have to be perfectly
would be proud. the middle to break up the monotony. symmetrical.

■ SUV
■ WAGON
■ SEDAN
■ MIDSIZE
■ COMPACT
OTHER

5.23. Columns can be visuals or text or both, as in this 5.24. A newspaper ad with a column of text and product

student-designed ad. integrated into it.

118 CHAPTER 5

Chaotic layouts (sometimes called circus or field-of-tension layouts) are

usually not as crazy as they sound. Generally, the organizing principle that pulls
chaotic layouts together is alignment. Thus the use of lines can bring organiza¬
tion to a chaotic layout. Proximity is another principle that brings order. You can
organize the seemingly random placement of visuals, for example, by placing

5.25-5.26. The circus is in town! Despite the chaotic organization, these circus or field-of-tension layouts incorporate the four
design principles.

>

MILLER BEER SEX GAME ADVERTISEMENT

03.17.2003 NEW YORK (AcJA9e.c0m> - This two-page fold-out from the latest Witter campaign presents Muter
Lite as me beverage for 'A party or group ot friends daring enough to give it a spin.' With a bottle that spins on
a wheel ol commands. Ih* ad selves as a gameboaid tor a group sex party. The spin commands include "Spank
everyone in the game that has blond halt,' ' With the person to your right, go Into another room,
and come back without underwear,' arid 'Go into the neatest bathroom and return oofy In a towel, stay that way."

5.27. Miller Lite’s sleazy “Group Sex” ad (talk about chaotic). Do you see any design principles here? Do you care?
 DESIGN FOR WRITERS 119

captions nearby. Some chaotic layouts, especially from novice designers, are just
that—visual train wrecks. Unless you have a well-defined design strategy and use
some organization principles, we suggest you stick to something simpler.

Building Your Layout

Learning about layout systems and creating thumbnails are just the first steps to
creating layouts. Now let’s talk about a few graphic considerations beyond the
organizational systems we’ve already discussed.

Edges
Here we are referring to the negative space of edges, including the page edges and
the gutter, as well as the visual design elements along the edges. The “gutter” is
the inside edge of a magazine page—where the pages are bound. Because the
binding takes space away from the ad, and since we read left to right, you don’t
want to draw the reader’s eye into the gutter. When it comes to layout, as well as
concepting, keep your mind out of the gutter. When laying out your ad, remem¬
ber this technical but very important point: Always honor your margins (edges).

so comfortable you’ll flip.

Your feet might not be as thrilled about warm weather as you are. Nothing says summer
like the sound of flip Hops, but nothing says pain like the first few weeks of wearing
those ruthless rubber straps. Before you go barefoot, introduce your feet to a pair of
j.Creu elastic wedge flip-flops. Wide band elastic straps stanch with your feet from day
one. Since f.Crew flip-flops are available in art assortment of colors and sizes, you can
finally be stylish and comfortable, something you ami your feet can both Ik- crazy about.

5.28. Look at the beauty of an edge within

j.CREW
J visit; \v\vw:jctcvv.i;oin to order.

the margins. Notice how clean the layout is.

Perfect for newspaper. Not to mention, a bit 5.29. This student-designed ad honors the margins. The eye
tongue-in-cheek. is drawn into the copy, not off the page.
120 CHAPTER 5

When laying out their ads, many beginners push text to the edge of the
layout because (a) the copy is too long, (b) the type size is too large, (c) the space
allotted to copy is not deep enough, or (d) they just don’t have a clue how to put
an ad together. Most likely, it’s a combination of all four.
While backgrounds and visuals can bleed (remember, that means they run all
the way to the outer border of the page), anything of value, such as copy or a
strategic part of the visual, needs to remain inside the margins. For most single¬
page ads the margins are at least one-half inch. If you violate that half-inch rule,
your ad not only looks unprofessional, but you could also lose your copy or
visual when the ad is bound into the magazine.

Blocks and shapes

You can use blocks and shapes, as well as lines, to organize the elements in your
layout. You can arrange and rearrange these blocks and shapes in a variety of pat¬
terns until you find the right combination. Organize them by grid, columns, or
in a chaotic layout, but be sure to use the Four Principles of Design to guide you.
*

Copy as graphic
Think of copy as a block or shape, and then figure how it will fit with the other
elements of the layout. Once you decide where it goes and the general propor¬
tion with the rest of the layout, you can begin to pick your font. Consider vari¬
ous qualities discussed earlier in this chapter. Then begin playing with the your
options by drawing thumbnails. When you figure out what you want to do, it’s
time to use the computer.

The Design Process

In a nutshell, the process begins with your creative strategy. Work from your brief
all the way through. Once you have a clear idea about what you need to convey
and a darned good idea about how many elements might be in your layout, start
sketching and collaging. If you’re more comfortable with sketching, draw
thumbnails until you run out of paper. It you’re more hands-on, try coilaging.
Cut out shapes and move them around within the confines of your layout. Or
combine both techniques. The bottom line is good designing takes a lot of work.
When you brainstorm a headline, you may create 30, 40, 50, or even 100 ideas.
Most of which will be schlock. The same process holds true with designing.
Scribble, scratch, and cut and paste 30, 40, 50, or even 100 ideas. In the process,
you’ll come to see what works best for your specific project. One last bit of
advice that bears repeating: Don’t start shopping for visual images until you’ve
nailed down your big idea.

Selecting your visuals

As you’ll see in later chapters, certain words in headlines and copy pull in more
readers. The same is true with visual elements—in print, on the Web, or on tele¬
vision. As with “proven” headline words, don’t use cliche visual choices just
because they’ve generated results over the last 50 years. Try to find a new approach
 \
DESIGN FOR WRITERS 121

that gets noticed. Below, we discuss a few of the visual choices that attract
readers and viewers.

People, not things. Given a choice, people like to see other people. Its all about
satisfying those wants and needs. Is that person in the ad benefiting from the prod¬
uct? Is that person suffering because he or she’s not using the product? Will I look
like that handsome/beautiful person in the ad if I use that product? If asked, any
reader would say, “Nah, I don’t look at people in ads.” But they do. And so do you.
The choice of showing the product or people using the product depends a
lot on the product category. For example, showing a medium-long shot of a sexy
sports car racing through the night could be the most effective image for that
vehicle. But showing a mom with her kids, and a lot of stuff to carry, may be the
best image for a minivan.

t-o -yeM? 4yf {iWinPMtj

EILEEN
Introducing* Lemon FISHER
SOMERSET COlLECTION SOUTH ?.4S 8005

5.30. What do you see first? If you’re human, it’s probably the 5.31. Want to sell sweaters? Why not show the people who
person. If you saw this in color, you’d also notice the lemon- design them rather than just the products? You still see the

yellow background. sweaters, but using the head designer and her apprentice make
a much nicer story. Talk about warm and fuzzy.

Babies, puppies and kittens (actually children and animals, to be less specific).
We know, this is lame. But think about your favorite ads and commercials. How
many have kids and animals? Every Super Bowl ad Top 10 list is topped by ani¬
mal acts. If you use this visual crutch, at least do it creatively, without being cute
or patronizing.
122 CHAPTER 5

5.32. Sometimes you can get away with a 5.33. Kids and puppies. It might
cliche, in this case the little kid resonates be cheesy, but they still hook a lot
with a lot of moms who want to help him of people.
blow his nose.

Surprise! Men and women think differently. Psychologists suggest that

there really are fundamental differences in the ways men and women process
information. (Remember all that right brain/left brain stuff?) In general,
women respond more to details, and men want the big picture.
A recent discussion on National Public Radio’s “Talk of the Nation” brought
out the following points from a panel of marketing experts. One participant said:
“For women, ads often are more detailed. Take for example toiletry ads. For one
thing, women are more concerned about grooming and
WORDS OF WISDOM appearance. And they appreciate very fine distinctions,
such as five different variations of shampoo—for curly
"The best writers are hair, straight hair, oily hair, dry hair, etc. For men, by
conceptual.... They under¬ contrast, toiletry ads focus on a single product.” And
stand the ad as a whole, not here’s a surprise: “Men seem to be much more sensitive to
as a patch of copy and a piece sexual signals. This fact has not been lost on advertisers.
We all know how sex sells.”8
of photography. In the best
For some male-oriented products, men like to see *
work, the visual and the other men in ads. The theory is they see models as they’d
verbal are so complementary like to see themselves. Flowever, it gets confusing for
that neither would be as other products, where ads for men feature women. The
theory here is men like to see women, in many cases,
strong on their own.”
wearing as little clothing as possible. It’s even more con¬
—Helayne Spivak9 fusing because the covers of men’s magazines like FHM,
Maxim, and Playboy show beautiful scantily clad women
while the covers of women’s magazines like Cosmopolitan
show, well, beautiful scantily clad women. As you
 DESIGN FOR WRITERS 123

5.34. Who’s the target audience—women 5.35. Does the fact that this is a fashion ad in
looking for athletic shoes or art students? a women’s magazine make it less objectify¬
ing? Imagine the outrage if this ran in a
men’s magazine and the photo of the dress
were changed to a bottle of beer.

concept and design an ad, you have to walk a tightrope between attracting
readership and pandering to baser instincts. Can you develop a visual that res¬
onates with the intended target market and still shows respect for women (and
men too)? The whole issue of how much sex sells and how we use it can’t be
answered here, if it can be answered at all.

More visual, less copy

You need to know how to write copy. But you also need to know when to leave
it out. While people will read long copy if they’re interested, for many consumer
ads, you just don’t need it. It’s better to use a visual to capture their attention
than a mass of intimidating text. Once again, the choice depends on the target
audience and type of product. Soft drinks and chewing gum don’t need 200
words of copy. A business-to-business product might. See page 124 for a com¬
parison of copy dominant vs. image dominant ads.

Illustration versus photography

Years ago, illustration was much more common. Now with Photoshop, photo
manipulation creates amazing effects that used to be available only with illustra¬
tion. However, illustration is a valid option for a lot of reasons:

• You can’t show it any other way: Cutaway drawings, blueprints, overlays,
ghosted images, and many other graphic treatments are executed as art¬
work instead of photography when you can’t show them any other way.
Or sometimes as a combination of the two.
124 CHAPTER 5

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5.36-5.37. Nobody really wants to talk about life insurance anyway. But which ad would you read first?
 DESIGN FOR WRITERS 125

• Create a mood: Illustrations create resonance too. Sometimes you need a

painting or drawing to elicit an emotion you can’t get from a photo.

• Dramatic effect: You can use illustration to exaggerate a feature, make a

problem look bigger than it really is, or enhance a benefit. Such visual
overstatements are more accepted as artwork than they would be as
realistic photography.

• Parody famous art: Want to paint a moustache on the Mona Lisa? First
you need a copy of the original painting (and permission). To mimic or
modify an illustration, you need another illustration.

Finding your visuals

One of the biggest problems advertising students (and many professionals) face
is where to get the visuals. Searching the Web and stock photo books for that
perfect image often turns into a shopping trip. You might find something that
looks cool but doesn’t fit your concept. Try to stay true to your creative strategy,
even if you can’t find the perfect photo. Fortunately, with stock photo Web sites,
your odds are greatly improved, even if the image is covered with watermarks.

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5.38. Showing a real guy with bugs in his teeth would be gross. 5.39. Another memorable campaign from Altoids. Their

This exaggerated illustration is more fun and acceptable. Strips featured delightfully disturbing illustrations. (Or
would you call them curiously strange?)
126 CHAPTER 5

• Web sites: Two of the best sites are fotosearch.com and Google images.
They list most of the major stock photo and art sources and have very
robust browsers to help you find the right image.

• Stock books and disks: Most of the major stock photo firms still publish
color books. They also put their low-res images on disks. Ad agencies and
design houses are always updating these books and usually throw out the
old ones. Ask an agency if you can have a few of their rejects.

• Magazines: If you’re looking for ideas or images you can scan or cut and
paste into a collage, you might find them in magazines. For example, if
you need an image of a glamorous model in an evening gown, start look¬
ing at some fashion magazines. Remember you are assembling images for
a layout, not a real ad.

• Digital photos: Advances in digital photography and photo editing software

have opened a lot of opportunities to creative people. Need a picture of a
college student eating a pizza? Don’t waste your time browsing stock pho¬
tos. Just shoot your roommate (photographically, that is). With a little plan¬
fling you can create all kinds of professional images on your own. This tactic
also works very well to create photo storyboards for television commercials.

• Draw it: If you can’t find it and can’t photograph it, try drawing it. At the
very least you’ll have a rough that someone else might be able to turn into
a nice-looking ad.

Design and campaign continuity

Design elements help tie a campaign together. The use of lines, type, color, and
layout style in particular provide a certain look that’s carried across a
campaign. Pay special attention to logo treatment and taglines. They may have
to work with a wide variety of executions in different media. It takes discipline

5.40-5.41. This well-thought-out thumbnail by Woody Pirtle of Pentagram shows how closely the final layout follows his drawing.
Even though some of the elements are different in the final, you can see his organizing principles have been carried through from
concept to completion. You don’t have to be a great artist to noodle out a design. Just keep scribbling until you find the right look—
then build it on the computer.
 DESIGN FOR WRITERS 127

to maintain graphic continuity in a long-running campaign, especially when

new ads are developed halfway through the campaign’s run. This is when you
really have to understand how the various elements interact to form the whole.
Without that understanding, your campaign can visually fall apart.

5.42-5.44. This award-winning campaign for the New York Times featured three very different images yet used the same tagline and
folded-back lower right corner to hold the campaign together visually.

5.45. A global brand requires global design continuity. Even if the language changes, you recognize the Coke design.
128 CHAPTER 5

Putting It All Together

We’ve covered a lot of design concepts, but in reality,
we’ve just scratched the surface. If you really want to
become a designer or art director, you must take design
classes, preferably taught by working professionals who
“‘Maximum message, deal with real clients every day. Learn the terminology.
minimum means' means Learn the rules and when you can break them. Above all,
practice, practice, practice. There is no substitute
every message is best
for experience, even if most of that experience is trial
communicated with and error.
simplicity and a core Writers can be designers, and vice versa. Even if you
concept that is manifested become an account exec or media director or can only
draw a stick person, you should be able to evaluate
in a compelling manner and
design and have some good reasons for your opinions.
a degree of clarity that If you remember nothing else about this chapter,
makes it easily understood ” keep this thought in mind:
—Woody Pirtle10
Keep it simple.

Don’t add so many elements, styles, and fonts that no one can figure out
what you’re trying to say. Another way to say it: Less is more. Keeping it simple
doesn’t mean you can only put one element in an ad. It means you need to
unify multiple elements into a cohesive design—so the reader is impressed by
your idea, not your technique.
Another cardinal rule:

If you emphasize everything, you emphasize nothing.

A cluttered, confused, truly chaotic layout repels readers. No one wants to take
the time to figure out your message. Once again: Less is more.
The following is a brief checklist of design tips and techniques. Use this to
evaluate your work and the work of others. You may not follow every “rule” listed
here. But if you don’t, you should have a sound creative reason why you didn’t.

Conceptual Considerations

• Does your layout convey the big idea?

• Did you design with your audience in mind?

• Did you prioritize elements? (The most important should be the most
prominent.)

• Do your visuals and headlines work together?

• Overall, does your design catch the reader’s eye?

• Did you keep it simple? (Less is more.)

 DESIGN FOR WRITERS 129

Layout Considerations

• Did you consider alternatives? (You can never have too many thumbnails.)

• Did you consider the Four Principles of Design?

• Did you use white space effectively?

• Does your layout have a pleasing and logical visual flow?

• Did you choose display type that matches the tone of the ad?

• Is the body copy inviting to read—the right size and proportion?

• Did you honor the margins—allow enough space around critical elements?

• Did you keep it simple? (Less is more.)

5.46.

Source: Illustration by Dan Augustine.

Who’s Who?
Helmut Krone—Helmut Krone developed a clean, uncluttered look in the
1950s that still sets the standard for modern advertising design. Working with
copywriter Julian Koenig, Krone created witty, tasteful, intelligent masterpieces
for Volkswagen and other Doyle Dane Bernbach clients. He sweated print
details and advanced professionalism among creatives in his relentless pursuit of
perfection. He was elected to the Art Directors Hall of Fame and has been a
perennial award winner as he revolutionized advertising’s “look.”11

George Lois—George Lois gained fame and major awards with bold, clean work
for Doyle Dane Bernbach, Papert Koenig Lois, and Lois Holland. He also
became the youngest inductee into the Art Directors Hall of Fame. Lois’s ads for
Wolfschmidt vodka, Xerox, Allerest, MTV, Maypo, Wheatena, and Edwards &
Hanly and his Esquire covers reflected his “loosey-goosey ’ style and exemplified
his idiosyncratic “stun ’em and cause outrage” philosophy. Never an establish¬
ment” model citizen, Lois is defined by his powerful early workT
130 CHAPTER 5

Woody Pirtle—Woody Pirtle began a very successful career in graphic design as

an art director at Stan Richards and Associates, which later became the Richards
Group, one of the leading agencies in the Southwest. Under Pirtle’s direction,
“single reactive projects would become well-conceived programs where design
was pervasive and execution was critical.”13 After his stint at Richards, Pirtle
founded Pirtle Design in Dallas and later became a director at Pentagram, one
of New York’s top design firms.

Notes
1 Quote from the Clio Awards Web site, http://www.dioawards.com/html/wsj/krone.html
(accessed December 20, 2004).

2 Robin Williams, The Non-Designer’s Design Book (Berkeley, CA: Peachpit, 1994), 15.

3 Ibid., 35.

4 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/riney.html

(accessed December 20, 2004).
i '■
5 Williams, The Non-Designer’s Design Book, 71.

6 Jennifer Kyrnin, “Color Symbolism Chart by Culture: Understand the Meanings of Color
in Various Cultures around the World,” n.d., http://www.webdesign.about.com/library/
bl_colorculture.htm (accessed June 3, 2005).

7 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/lois.html

(accessed December 20, 2004).

8 MelanieYarborough discusses this NPR program in “Gender-Pitched Advertising: Do Men

and Women See the Same Thing?” n.d., http://village.fortunecity.com/carnival/383/adverts
.htm (accessed June 3, 2005).

9 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/spivak.html

(accessed December 20, 2004).

10 Woody Pirtle, contribution to Graphic Design: Inspirations and Innovations, ed. Diana
Martin (Cincinnati, OH: North Light, 1998), 50.

11 “Top 100 People of the Century,” Advertising Age, March 29, 1999, http://www.adage.com/
century/people.html (accessed June 3, 2005).

12 Ibid.

13 Jack H. Summerford, “Woody Pirtle: Completing the Circle,” 2003, on the AIGA Web site,
http://www.aiga.org/content.cfm/content?ContentAlias=woodypirtle (accessed June 3, 2005).
 Campaigns

W hat is a campaign? Before you can create a campaign, you need to

define it. In Campaign Planner for Promotion and IMC, Shay Sayre
defines a campaign as “a themed series of planned brand messages
delivered to a specific target audience through a variety of promotional media and
activities during a fixed time period.”1 That’s a good marketing definition, but from
a copywriting standpoint we prefer Maxine Paetro’s simpler description:

A campaign is a series of ads for a product (or service or company) that work
individually and cumulatively to communicate the advertiser’s message to
the consumer.2

In other words, each element of a campaign has to be effective on its own, because
that may be the first and only exposure. All the elements also need to work
together to build a cumulative image. In a well-executed multi-element campaign:
the whole is greater than the sum of its parts. Another perspective comes from Jim
Albright in Creating the Advertising Message: “A campaign is no more than putting
together all the advertising skills you have learned in a concentrated, multi¬
pronged approach, based on the single strategy you developed.”3
What makes a collection of marketing communication projects a campaign?
In some cases a campaign can include the complete MarCom arsenal, or it can
be as simple as a series of three fractional page ads, as long as it meets all of the
following criteria:

• Common objective: It’s aimed at a well-defined target audience and

includes awareness, comprehension, conviction, and action goals within a
given time frame. In other words, there should be a campaign strategy.

• Unified theme: Whether it’s a tagline, graphic design, or copy message, a

campaign needs to convey a single message so the consumer can connect
that one adjective to the brand. This does not mean that all ads in a cam¬
paign have to look the same—but the overall message should be consistent.
132 CHAPTER 6

• Coordinated rollout: Depending on the time frame, all elements can

appear at once in a blitz, or new elements can be added depending on
changing marketing environments, such as seasonality and competitive
response. This involves media and promotion planning, but it certainly
affects creative strategy.

Overall, if you remember nothing else about campaigns, know this:

The primary purpose of a campaign is to support the brand.

From the client’s point of view, a campaign is a more effective, more profitable,
and more stable situation for establishing his or her brand name.4

Campaigns and IMC

In Chapter 1, we outlined the concept of Integrated
Marketing Communications. In a campaign, the opera¬
WORDS OF WISDOM tive word is integrated—all elements have to work
together in a planned approach. Campaign strategy can
“Successful campaigns are
involve the whole marketing communication toolbox,
strategy and execution, including public relations and media planning; however,
marketing and creativity, we’ll limit our thinking to creative elements.
graphics and copy—everything
is critical One slip-up, one Campaign components
second-rate element, and a Think about any recent soda or fast-food restaurant
terrific campaign can turn campaign. Where did you first notice it? Probably on tel¬
into a terrific flop ” evision. But you also heard the radio commercials, saw
the billboards, checked the coupons in the Sunday paper,
—Marie-Catherine Dupuy5 got annoyed by the pop-up ads on the Web, and proba¬
bly glanced at displays in stores or restaurants. Each indi¬
vidual component conveyed the message, and collectively
they pounded it into your brain. So when you see that soda on the grocer’s shelf
or in a vending machine, you buy it, probably without realizing how many times
you’ve been bombarded with different messages in the various media. What made
you pull into the drive-through to try that new sandwich? Maybe it was the ad
on your car radio or the billboard you just passed. Again, you probably don’t real¬
ize how many campaign components were working together to influence you.
Here are a few of the components that can be part of an integrated campaign:

• Advertising: Consumer magazines, trade magazines, professional maga¬

zines, broadcast television, cable/satellite television, radio, local newspa¬
pers, national and trade newspapers, billboards, transit

• Promotion: Short-term sales contests, special offers, discounts, rebates,

incentives, sweepstakes, cross-promotion with other products, publicity,
and advertising of the promotion

• Public relations: Event planning, publicity of events, print news releases,

newsletters, video news releases
 CAMPAIGNS 133

• Internet/interactive: Web sites, Internet advertising, permission-based

marketing, search engine marketing, customer relationship marketing,
online and CD-ROM interactive programs and games

• Direct marketing: Database development, direct mail (letters, cards,

dimensional mailers), fulfillment (mailing information or merchandise)

If all the above components are part of a campaign, they all have to work
together, yet each must stand alone as an individual selling tool. Campaigns
epitomize convergence.

6.1. In an Integrated Marketing Communications program, all the elements work

together so the whole is greater than the sum of its individual components.

How to Enhance Continuity

Continuity does not
mean conformity
The biggest difference between a single-shot ad and a campaign is continuity.
Continuity within a campaign means the various components of the campaign
have enough commonality that the reader/viewer/listener should perceive a
common theme and unified message. Continuity doesn’t require that the TV
spot uses the same dialogue as the radio commercial, or the billboards have the
exact same graphics as the print ads. It’s nearly impossible for us to give you one
set of guidelines that works for every campaign, but remember this:

Don’t repeat the same idea in every part of the campaign—repeat the
creative strategy with different executions.6

To create an effective campaign, you need to think in two dimensions:

extending the creative strategy across the various media and repeating that strat¬
egy within each medium.
134 CHAPTER 6

2004
6.2-6.4. A “Diamond Is Forever,” and so is the DeBeers campaign. As long as women
love jewelry and men love women, this campaign will probably never change.

Extendibility
The first dimension—extendibility—means you use the same theme and
common elements in two or more media. For example, can you carry that
creative message from print to TV? Will the direct mailers look like they came
from the same company as the billboards? Does the advertising support the
 CAMPAIGNS 135

promotion theme? Does the point

of purchase material tie in with
the campaign?

Repeatability
Repeatability is a little different
from repetition. It does not
mean rerunning the same ad or
commercial until everyone is so
sick of it they ignore it. That’s a
media decision. In a creative con¬
text, repeatability means using
common elements to create a series
of ads or commercials. The ele¬
ments are not identical, but they are
related—they can stand alone but
also work cumulatively to convey a
campaign theme.

6.6. In 1998, Apple launched their biggest campaign to date for the new iMac. In just five months, they spent more than $100 mil¬
lion in magazines, television, radio, outdoor, and the Internet to introduce a real product that supported their previous image-only
“Think Different” campaign. The iMac introduction, plus subsequent campaigns for new Apple products, has helped to increase
sales dramatically. However, Macs still own less than 5% of the personal computing market.

■■■
136 CHAPTER 6

rH thE KIDS TO WSS®

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6.7-6.9J Three different headlines, one common theme: Applebee’s will fill you up. This
series was created by a student.

6.10. We can’t think of a better example of repeatability. The formula for years has been to put a milk moustache on the flavor of
the day (or from 25 years ago for Kiss) and drop in the tagline “Got Milk?” If you want to learn more about the evolution of this cam¬
paign, check out Jon Steel’s Truth, Lies and Advertising: The Art of Account Planning.7
 CAMPAIGNS 137

How to maximize
extendibility and repeatability
We’ve already covered some of the creative tools you can use to provide continuity
to a campaign. You can use one or all of them to help hold your campaign together.

Music
When people can’t remember the words of a commercial but can sing the jin¬
gle, you know your campaign’s music is holding it together. Music is far more
memorable than any other commercial element. For example, you’d have a hard
time finding anyone over 30 who doesn’t know the Oscar Mayer wiener song.
You have as many ways to use music in your campaign as there are songs—
probably more, with today’s sampling and mixing technology.
Original commercial music, also called jingles, has long been a staple of highly
promoted consumer products, such as fast-food chains. When a tune catches on,
it becomes part of the popular culture, and it’s likely to stay around in one form
or another for a long time. Everybody can sing “Like a good neighbor, State Farm
is there” and “Sometimes you feel like a nut, sometimes you don’t.” When a
mega-advertiser like McDonald’s, Pepsi, or Coke unveils a new jingle, it’s a major
marketing event. In the 1970s a Coke jingle was adapted into a popular song that
sold millions of records (and probably billions of Cokes, too).
In the last several years, original popular music has provided the sound tracks
of many commercials. In the past, rights were considered too expensive, and
artists didn’t want to sell out to advertisers. Today, most artists don’t own the
rights to their music, and many would gladly take the cash, especially if they
haven’t had a hit in 15 years. We’re sure Bob Seger never believed 10 seconds of
“Like a Rock” would be played millions of times more than the full song. Turn
on the TV and close your eyes—it sounds more like a classic hits radio station.
It’s been said the music you liked when you were 14 or 13 resonates the
strongest. Pick your decade, and you can bet the top-selling artists from that
time are in TV spots.

6.11.
138 CHAPTER 6

Some advertisers use modified popular music Wuh. their

own lyrics. The tune’s familiar, but the words can be a
clever blend with the music or just plain awful. It can be a
familiar old tune or a current hit. If you use current music,
“There’s a difference between make sure you stay ahead of the popular culture curve.
a campaign concept and an ad
concept. Are the different Voice Talent
ads different executions to Using the same announcer throughout a TV and
illustrate the same point, or radio campaign helps establish a common sound. Here
are they different ways of are a few examples.

doing the same idea? The

Celebrity voice-over. A lot of very famous people pro¬
former is a campaign, the vide voice-overs for commercials without identifying
latter is probably just the themselves. James Garner did Chevy Trucks. Lauren
typical either/or process Bacall promoted cruise ships and cat food. Donald
Sutherland has been the voice of Volvo, and Martin
creatives go through choosing
Sheen pitched Toyota. Using famous actors may be
which way to take an ad.” expensive, but they often have distinctive voices that
—Tom Monahan8 connect with viewers or listeners.

Character voices. People are used to hearing smooth

announcers, so a distinctive voice treatment can shock them into listening.
Gilbert Gottfried’s jarring “Aflac” quack is a prime example.

Announcers. Using the same announcer throughout a campaign, even if he or

she is not a celebrity, can provide continuity. Be careful to maintain the tone and
delivery style, even though the copy changes from spot to spot.

Animated Characters/Animals
For years, the Leo Burnett agency was known for its “critters”—those mem¬
orable animated characters that have been the common thread of many of their
long-running campaigns. Before you dismiss these mascots as throwbacks to the
1950s, consider that they’ve been around for a long, long time. That means the
agency has created long-term brand value and, in doing so, has retained clients
much longer than most of their competitors. Some characters, such as Tony
the Tiger, the Jolly Green Giant, and the Keebler Elves, are inseparable from
the products.
While most advertisers hope to match the success of these established brand
images, they usually give up when sales don’t move as fast or as far as they’d like.
For example, the Taco Bell Chihuahua was wildly popular, selling almost as
many stuffed toys as tacos. However, after an initial increase, Taco Bell sales
leveled off and declined slightly. The president of the chain resigned, the agency
was fired, and the dog was out on the street. Was it the Chihuahua’s fault, or the
fact he drew a lot a customers into the restaurants to sample the food and they
never came back?

Spokespersons/Celebrities
Celebrities. Back in the day when brands were the sole sponsors of radio and televi¬
sion programs, the star of the show was the brand spokesperson. For example, Ronald
 CAMPAIGNS 139

6.12. Arby’s Oven Mitt (voice of 6.13. This little guy 6.14. This campaign kept going, 6.15. Since the 1950s, Tony the
Tom Arnold) did not last as long has survived nearly 40 and going, and going, and . .. Tiger has been a “G-r-r-eat!”
as these other mascots. years of tummy pokes. - mascot.

Reagan was host of the General Electric Theater television

show, so Ronnie appeared in TV spots and print ads and at
numerous speaking engagements promoting GE products.
In his prime, Michael Jordan was one of the top
commercial spokespersons, starting with Coke, then
Nike, before branching off to McDonald’s, Hanes, and
many others. His celebrity transcended his sports fame.
Today, Tiger Woods is the symbol of Nike golf products
and Buick, among others. George Foreman is better
known for his cookware than as the former heavyweight
boxing champ.
As we discussed in Chapter 4, using a celebrity works
best when he or she has some reasonable connection with
the product. Whether your celebrity is from the world of
sports, show business, politics, or any other public venue,
your main considerations should be:

• Can we afford this person?

• Does he or she have any skeletons in the closet—

any future potential for embarrassing the client?

• Will he or she connect with the consumers?

• Will this person enhance the brand image?

6.16. Anna K’s “15 minutes of fame” could
Spokespersons/symbols. You can create spokespersons describe most of her tennis matches. Now
and, if things go right, they become celebrities. The “Dell she’s spokesperson and chief model for a
Dude” was a prime example. For years, a guy wearing a line of sports bras. The tagline (we’re not
black raincoat has been improving people’s lives with making this up)—“Because only the balls
Sprint digital phones. Or you can use a real person who’s should bounce.”
connected with the product, such as Wendy’s did with the
140 CHAPTER 6

late Dave Thomas, who for years brought a likable, easygoing tone to
his commercials.

Story Lines/Situations/Catchphrases
Story lines. Some advertisers use testimonials or case histories, all with a common
theme to convey their message. State Farm Insurance has run campaigns that
show people in risky occupations who won’t take a chance on using another
insurance company.

Situations. These are recurring themes or vignettes that involve (a) the same char¬
acters or (b) the same premise. For example, in a long-running series of commer¬
cials, Direct TV uses the same installer who interacts with different customers.
Over the years Budweiser has featured their Clydesdales playing football while two
cowboys watch the game. Imodium has created a series of print and TV ads with
the theme “Where will you be when your diarrhea comes back?” In each case the
victim is placed in a very awkward situation if the problem reoccurs.

Catch^hrases. These can be official slogans, but more often they are lines that
sometimes weave their way into the popular culture. For example, “Where’s the
beef?” from Wendy’s even became a line in a presidential campaign. A few years
ago, “Whassup!” ruled the airwaves and briefly enjoyed a few months of pop
culture prominence. Any advertiser
looking to stay on the leading edge of
pop culture has to be aware when
a catchphrase’s 15 minutes of fame
have expired. Rule of thumb: When
middle-aged folks in Peoria start
using your catchphrase, it’s over.

Design and Tagline

As we discussed in Chapter 5,
design elements can unify a cam¬
paign. Maybe it’s a color, like the
brown of UPS. They even built a
slogan, “What can brown do for
you?” around the distinctive color of
6.17. One ad from a recent Coca-Cola campaign. The distinctive the company’s trucks and drivers’
symbols of Coke are featured in every ad in the series. uniforms. Or a layout style, type
style, or other graphic element
could be the common thread. Once
a look is established in the consumer’s mind, extending it becomes a lot easier—
until it stops getting attention. As we’ll cover in Chapter 7, a slogan can also hold
a campaign together.

Knowing the audience

is job one for good campaign strategy
Even when your media mix is perfect and all the elements work together,
your campaign can fail miserably if the basic idea—the One Thing—is wrong.
Although the message seems right, it may be very wrong if you don’t
 CAMPAIGNS 141

6.18.

Source: Illustration by Dan Augustine.

understand your target audience. A classic example is the campaign by the U.S.
State Department to encourage Muslims overseas to think kind thoughts about
America after 9/11. They tapped Charlotte Beers, then the most powerful woman
in American advertising, making her undersecretary for public diplomacy. Who
better to craft a powerful message and deliver it to the right people? As it turned
out, the campaign was a bust. Overseas, TV spots featuring Arab Americans say¬
ing nice things about this country were dismissed as crude propaganda. No matter
what these people said, it couldn’t compete with the images seen on Al Jazeera.
After months of ridicule, the State Department pulled the plug, and in 2003 Beers
left government service due to “health concerns.” (Maybe the government got sick
of wasting millions of dollars.) The moral: The success of your campaign starts
with your understanding the wants and needs of the target audience.

NS AC: Like the Real

Thing, Only More Fun
The National Student Advertising Competition, spon¬
sored by the American Advertising Federation, provides
an opportunity for college students to develop and pres¬
ent professional advertising campaigns for real clients.
Some call it the World Series of college advertising. National Student
Each fall, teams begin work for the same client and then Advertising Competition
present their campaigns in the spring at regional and
national competitions. For most college students, this is 6.19.
the closest thing to a real-world new-business pitch. -
They work with real objectives and real budgets with
real guidelines, both from the client and from NSAC. Some schools make partici¬
pation part of their advertising curricula; others participate as Ad Club members.
142 CHAPTER 6

Table 6.1 NSAC

NSAC is like the real world • You have to deal with budget, media, and
because... creative restrictions imposed by a real client.

• You work in small groups, sometimes with

people you’d rather not work with.

• The deadlines are crazy.

• You pull a lot of all-nighters and eat a lot of

junk food.

• You face some really tough competition.

NSAC is not like the real world • The 32-page plans book is usually far beyond
because... the typical new-business effort.

• The presentations are usually too slick for

most new-business pitches.

• You’re evaluated by judges as well as by

actual clients.

• You do it all for free.

<>

• The losers party together.

NSAC consists of two main components: a plans book and a presentation.

The plans book is the road map for a campaign. It includes an executive sum¬
mary as well as sections covering situation analysis, research, media strategy
and tactics, creative strategy and tactics, and sometimes promotion strategy
and tactics. It also includes a budget, which makes the plan real, not just a
creative exercise. The section devoted to evaluation is also important: What
do you measure, how do you measure it, and when do you measure it?
How important is a plans book? In NSAC, it’s given greater weight than
the actual presentation. The judges are more interested in how you think than
in how you present your thoughts.
The presentation is the fun part of NSAC. Four or five presenters introduce
their team, walk through their recommendations, show the creative work, and,
if they’re smart, ask for the business. Following the 20-minute show-and-tell
is a grueling 10-minute question-and-answer session. This is where the judges
really test the presenters. It can make or break the whole presentation.
If you have the opportunity to participate in NSAC, do it! It’s a great experience
to develop a plan, execute the various campaign elements, and then sell it to a real
client. It’s also a great opportunity to see other college teams in action. What’s more,
NSAC participation looks great on your resume, especially if you win.

Putting It All Together

Creative strategy for campaigns begins with marketing objectives. As always,
you have to ask, “What do you want to accomplish?” The more specific the
goals, the better your plan. When the objective is to introduce and reinforce a
brand, start thinking campaigns.
 CAMPAIGNS 143

Don’t limit your thinking to repetition of the concept or even to how it will
work in other media. Look at the big picture. The most famous one-shot ad of
all time—Apple’s “1984”—was actually part of a campaign that involved a huge
amount of publicity and public relations. The commercial was shown many
times—for free—after its one and only appearance on the Super Bowl, and the
buzz put Macintosh on the map. It’s interesting to note that the client was so
nervous about the approach before the Super Bowl that the agency sold off their
time for a scheduled second airing.

6.20. One of the magazine ads developed by the Marquette University team for the
2004 NS AC client: VISIT FLORIDA.

6.21. Creative can’t exist in a vacuum. It has to be based on a sound strategy, executed
properly, and distributed to the public through sound media choices. All those factors
and more are outlined in a plans book. These are a few pages from the plans book of
the 2004 NS AC champion, Southern Methodist University.
144 CHAPTER 6

competition. It was time for the next challenge—

All-Nighters,
the presentation. We’d done all the work; now it
Adrenaline, and Nausea:
was time to tell our story. As one of five presenters,
What It Takes to Win the NSAC
I can honestly say that I’ve never felt so much
Out of 16 schools at the finals, a team from Southern
adrenaline and nausea than I did before our final
Methodist University won the 2004 National Student
Advertising Competition in Dallas. The following is an presentation for the national competition in Dallas.

account from Bethany Padnuk, one of the team leaders Since we were regarded as the “team to beat,” hun¬

and presenters from SMU: dreds of people—parents, students, alumni, and

recruiters—-came to see our pitch. Not only were we
As a group of 18 students who barely knew each standing just four feet in front of the judges’ table,
other, we faced the challenge of increasing the which included the CEO of VISIT FLORIDA, but
number of net leisure nights and paid lodging in sitting in the front row were four of my potential
# ^
Florida. “More heads onj pillows” is what we called employers, whom I had invited to see me in action.
it. It seemed so fun and simple—getting people to My final interview was in two days. What a rush; we
visit Florida. Looking back, we had no clue what we knew we had nailed it when the CEO said, “You
were getting ourselves into. guys really hit it out of the park.”
We signed up to live, eat, sleep, and breathe The moment leading up to the announcement
Florida. Late nights, no free weekends, no spring of the national winners was one of the most ago¬
break, and say goodbye to friends and loved ones. nizing waits we’ve ever experienced. Hearts rac¬
This project was anything but a vacation. Despite ing, palms sweating, eyes closed, and breath held,
all these sacrifices, it was by far the best experience we finally heard “Southern Methodist University.”
of my life, and it set me on the road to a successful And that was the moment we all knew it was
career in advertising. worth it.
The day we got The Big Idea was one of the most The rewards from taking part in this competi¬
memorable and exhilarating moments. We all just tion were numerous. While the end product of the
knew, “This is it. This is what we’ve been working NSAC experience—first place in the “College World
for.” It was the moment we linked travel to Florida Series of Advertising”—was important, the process
with togetherness. This realization derived from our required to get there was equally valuable. Nothing
key consumer insight: People think of a Florida vaca¬ could have prepared me more for the real world. We
tion as an “investment” in their relationships with learned to come together as a team in stressful sit¬
loved ones. Our creative executions stood out both uations. We learned how to fight for our work when
visually and strategically from every other leisure pitching our business. We developed, a unique point
destination campaign, and our taglines spoke of difference from other students entering the job
directly to relationship travelers: “This is friendship. market. Most important, we established invaluable
This is Florida.” And “This is family. This is Florida.” relationships. And that’s what this business is
After countless all-nighters and a 15-minute all about.
power nap in the parking lot of Kinko’s, our 32-page —Bethany Padnuk, The Richards
plans book was completed and sent off to the Group (SMU class of 2004)
 CAMPAIGNS 145

r if you kids are almost ^

through with this subject,
I have Dave Thomas
t thawing in the A
back room.

6.22. Study advertising—good, bad—it doesn’t matter. Seeing how other people solve the creative problem will help you become a
better writer.

Source: Illustration by Dan Augustine.

Campaign tips
We’ve offered a lot of ways to improve the continuity and thus the effectiveness
of campaigns. Here’s some more good advice from Jim Albright:

• A campaign is a series of planned actions. Think big about a wide, multi¬

pronged attack on the marketplace.

• When assigned to write a one time ad, check to see if the client has an
ongoing look and sound and slogan. If so, make the point of the ad under
the umbrella of the ongoing look, sound and slogan.

• If the client has no continuity in its advertising, write the one-time ad so

that it could be extended into a campaign, if necessary.

• When writing an advertising campaign, don’t lepeat the same plot in dif¬
ferent media. Repeat the creative strategy with different executions.

• Think extendibility from the beginning. Sometimes a strategy is so nar¬

row that only one or two good commercials or ads can be written under
that strategy. Think ahead to all the different ways you can execute adver¬
tising under your creative strategy. You may have to write a song or have
T-shirts printed.9
146 CHAPTER 6

WORDS OF WISDOM

"The greatest advertising

isn't great for moving
merchandise any more than
the greatest literature is great
for compelling plots.
Somehow—in the service of
carmakers and brassiere
manufacturers and car
rental agencies—these
campaigns have discovered
our humanity.”
—Bob 6arfield10

6.23. This mini-campaign designed by a student used a simple theme to add a little life
to an old brand. The campaign included an offer for a CD of twist music and a booklet
on creative twist techniques. It also included TV, Internet, and radio commercials.

According to the editors of Advertising Age, these are the 10 best campaigns
of the 20th century:

1. Volkswagen, “Think Small” Doyle Dane Bernbach, 1959

2. Coca-Cola, “The Pause That Refreshes,” D’Arcy Co., 1929

3. Marlboro, the Marlboro Man, Leo Burnett Co., 1955

4. Nike, “Just do it,” Wieden + Kennedy, 1988

5. McDonald’s, “You Deserve a Break Today,” Needham, Harper &

Steers, 1971

6. DeBeers, “A Diamond Is Forever,” N. W. Ayer & Son, 1948

7. Absolut Vodka, the Absolut Bottle, TBWA, 1981

8. Miller Lite beer, “Tastes Great, Less Filling,” McCann-Erickson

Worldwide, 1974

9. Clairol, “Does She ... or Doesn’t She?” Foote, Cone & Belding, 1957

10. Avis, “We Try Harder,” Doyle Dane Bernbach, 196311

 CAMPAIGNS 147

Who’s Who?
Charlotte Beers—A brilliant strategic thinker, Charlotte Beers rose to become
the world’s highest-ranked woman in advertising. The Texas native joined
J. Walter Thompson Co. in 1969, and in 1979, she became COO, then CEO,
of Tatham-Laird & Kudner. She tripled billings and merged with Europe’s
RSCG to create what is now Euro RSCG Tatham. Her performance led WPP
Group to name her chairman-CEO of Ogilvy & Mather Worldwide and, later,
chairman of J WT. Following 9/11, she served a brief stint as undersecretary of
state for public diplomacy, during which she worked to improve the image of
the United States in Muslim countries.

Marie-Catherine Dupuy—Marie-Catherine Dupuy is a third-generation ad

agency executive. Her grandfather founded one of the first French advertising
agencies (which later became Saatchi & Saatchi in 1986). Dupuy joined Dupuy-
Compton as a copywriter in 1970. In 1984, she became a founding partner and
executive creative director at Boulet Dru Dupuy Petit (later to become part of
TBWA). As writer and creative director, she has won more than 200 awards in
international competition for clients such as Virgin, BMW, McDonald’s, Tag
Heuer, Sony, and Bic.

Jeff Goodby—While working as a copywriter at Hal Riney, Jeff Goodby was

freelancing with partners Andy Berlin and Rich Silverstein. Their freelance client
eventually became Electronic Arts and got so big they decided to create their
own agency, with EA as their first account. It wasn’t their last. Their creative risk
taking led to breakthrough campaigns for the California Milk Processor Board
(“Got Milk?”), Budweiser (Louie and Frank the lizards and the “Whassup” cam¬
paign), Nike, E*TRADE, and the Winter Olympics. That campaign, among
others, helped the once tiny agency gain significant recognition, including mul¬
tiple Clio and Cannes awards. Goodby has been named “Agency of the Year” by
AdWeek and has grown steadily with the addition of Unilever, Cracker Jack,
Intel, and the Wall Street Journal.

Tom Monahan—Through his popular creative workshops, Tom Monahan has

helped thousands of people master creative thinking. His consulting company,
Before & After, has worked with clients such as Capital One, Frito-Lay, AT&T,
and Virgin Atlantic. He is also the author of one of the top business-oriented
books on creative thinking, The Do-It-Yourself Lobotomy: Open Your Mind to
Greater Creative Thinking.

Jon Steel—One of the early leaders in the fast-growing field of account plan¬
ning, Jon Steel is well-known for his innovative approach to focus groups, in
which he elicited opinions from people where they lived, worked, and shopped,
rather than in sterile interview rooms. As head of Goodby, Silverstein &
Partners’ planning department, Steel was named “West Coast Executive of the
Year” by AdWeek in 2000. He also finds time to share his depth of knowledge in
the world of academia at Stanford University’s School of Business as a regular
lecturer. His first book, Truth, Lies and Advertising: The Art of Account Planning,
has become a must-read for anyone interested in account planning.
148 CHAPTER 6

Notes
1 Shay Sayre, Campaign Planner for Promotion and IMC (Cincinnati: South-Western, 2002), 5.

2 Maxine Paetro, How to Put Your Book Together and Get a Job in Advertising (Chicago: Copy
Workshop, 2002), 7.

3 Jim Albright, Creating the Advertising Message (Mountain View, CA: Mayfield, 1992), 41.

4 Thomas O’Guinn, Chris Allen, Richard Semenik, Advertising and Integrated Brand
Promotion (Mason, OH: Thomson, 2002), 50.

5 Quote from the Clio Award Web site, http://www.clioawards.com/html/wsj/dupuy.html

(accessed December 20, 2004).

6 Albright, Creating the Advertising Message, 49.

7 Jon Steel, Truth, Lies and Advertising: The Art of Account Planning (New York: John
Wiley, 1998).

8 Tom Monahan, “When an Ad Is Not a Campaign,” Communication Arts, May/June 2000,

http://www.commarts.com/ca/colad/tomM_31.html (accessed May 27, 2005).

9 Albright, Creating the Advertising Message, 49.

10 Bob Garfield, “Top 100 Advertising Campaigns of the Century,” Advertising Age, March
29, 1999s http://www.adage.com/century/campaigns.html (accessed May 27, 2005).

11 Ibid.
Headlines and
Taglines
wHm? W e can show you the easy way to get an A. Got your attention, right?
That’s what a headline is supposed to do. It appeals to your self-interest. It can
promise a reward. It makes you want to
know more. It can draw you into the ad.

Why Have a
Headline?
A headline is probably the most important
element of copy. David Ogilvy said the
headline is worth 80 cents of the client’s
dollar. Sometimes it’s worth even more.
All forms of marketing communica¬
tions use headlines, even when we don’t
call them headlines. In television it’s the
start of the commercial. In radio, it’s the
first few words of copy. In a letter, it may
be a title or the first paragraph. “At <50 n«k> an hour the Wdest n«a* m dti>
Ogilvy also stated that the headline is ixv. Rdh-Rmw awe from the cltvrhc ckvV*
Hg>lk0 VteW * * '■■■■ * *■*** * m
the “ticket on the meat,”1 which sounds
rather simplistic for someone who wrote, (V- -'VP*.
<<
* -■ •*'*/ ’
si -m- r'f
V
.X.V.-Xy S.V

“At 60 miles an hour the loudest noise in *« *' Vx«* «■««•••*

» ». »*» * s> r- •* r-*-'1 *
this new Rolls-Royce comes from the elec¬
tric clock.” He found a benefit (excep¬
tionally quiet ride), included specifics
mm
(60 miles per hour), and twisted it with » 4.x* v x. »

an unexpected comparison to an electric

clock, probably the last thing you’d think 7.1. David Ogilvy discovered an obscure fact about Rolls-
about when buying a Rolls-Royce. At 18 Royce and turned it into one of the greatest headlines of
words, it’s very long by today’s standards, all time.
but still memorable.

149
150 CHAPTER 7

Not all print ads have headlines, especially visual

puzzles. However, it’s important to know how to write a
good headline first. Then you can decide if you need it.
Some texts dissect and analyze headlines in great detail,
"AH messages have headlines. but we’ll boil their functions down to four primary points.
In TV, it's the start of the A good headline does one or more of the following:
commercial; in radio, it's
the first few words; in a • Gain immediate attention (the old fishhook in
letter, the first paragraph ” the brain).

—John Caples2 • Select the right prospect (appeal to self interest).

• Lead readers into the text (they want to know more).

• Complete the creative equation (synergy with visuals).

DON’T VOTE.
THINGS ARE PSRfECT JUST THE WAY THEY ARE.

7.3. The visual is funny but doesn’t make much sense by

itself. The headline without the visual is weak. Together they’re
very effective.

7.2. By itself, this headline would probably get your attention. 7.4. Sometimes a great headline doesn’t need a visual to
Paired with this disturbing graphic, it really grabs the reader. It communicate a powerful message. It’s simple, clever, and makes
reads, “DON’T VOTE. Things are perfect just the way they are.” a point without preaching.
 HEADLINES AND TAGLINES 151

7.5. Synergy: Headline and graphics working together to create 7.6. Is the visual part of the headline or vice versa? Either way,
a more memorable message. (The last line of copy is great too: it works with the subhead and pulls you into the body copy. It’s
“Even with available seating for seven, only one person can also a good example of selecting the right prospect (this ran in
truly appreciate the Discovery. The rest have to go to school.”) a magazine targeting mature readers).

Types of Headlines
Categorizing headlines is usually more helpful for describing completed work
than for helping you develop new concepts. Phillip Ward Burton has developed
a list of categories that we like.3 In Table 7.1 we’ve modified his list a bit and
kept the descriptions brief.

"The headline is the most

important element of an ad.
It must offer a promise to the
reader of a believable benefit.
And it must be phrased in a
way to give it memory value."
—Morris Hite4
7.7. News: A new salt company is born. Not exactly the
Second Coming, but newsworthy to industrial users of salt.
152 CHAPTER 7

Table 7.1 Headline Categories

Type of Headline Use this when

News . . . you want to introduce a new product, new brand,

new feature.

Direct benefit . . . you want to promise a reward or highlight the

prime benefit in the headline.

Curiosity . . . you want to intrigue the reader into finding the main
idea in the body copy.

Emotional . . . you want to sell the image and/or invoke resonance

in the reader.

Directive (command) . . . you want the reader to do something.

Hornblowing ... you want to impress the reader by being the biggest,
the fastest, the first, etc.

Comparison . . . you want to differentiate your brand from the

competitor or use a metaphor to describe your
product.

Label i . . . you want to focus on the brand name, product name,

or campaign tagline rather than discuss
features/benefits.

: i\isfftry Mv J0At yt.AiMV tJiRtC tOft

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7.8. Direct benefit: This one tells the whole 7.9. Curiosity: What does being a “foam 7.10. Emotional: Another indirect approach.
story in the headline and then supports it peanut” have to do with insurance? This one promotes the fun of boating, not
with the visual. Read the ad and find out. The goal in the features of the boat. “Boat all day. Kiss
these types of ads is to make the with chapped lips.”
headline so interesting you want to
find out more.
 HEADLINES AND TAGLINES 153

THY BURNING
IMS COUPON. Jr?

“THE GME YUKON JUST

THE J.D. POWER AND ASSO
Hofei tilts advertisement over an ashtray. Put a match
iy a lighter to it Remove tne flame, and the page
stops tximing Try it agam And again it won't go up in
flames
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( ) Send free sample i iKRCrade; ■ US Grade
Name______J
Tide___Company-
Address-
Clty..^^?..state ___?ip,„.

7.11. Directive: This B2B (business-to-business) ad 7.12. Hornblouiing: Sometimes a direct shot between the eyes gets the point
challenges you to try to burn their ad. Actually, it’s across. In some cases, if you say it loud and often enough, eventually the
an insert coated with a fireproof material. The copy reader or viewer might start believing you’re the best. . . just because you
is directive too. “Hold this advertisement over an say you are.
ashtray. Put a match or a lighter to it. Remove the
flame, and page stops burning.” We tried it, and it
didn’t burn.

7.13. Comparison: Financial services as a safety line. This is a lot more 714- Label: If You d01^ want t0 saY veiT much
interesting than a compound interest chart. about the Product- at least §et them to remember
____ the name of the store.
154 CHAPTER 7

How to Write More

Effective Headlines
The “magic words”
Let’s take a few steps back to Chapter 1 and think about ideas that sell versus
creativity for its own sake. Your choice of words can make a huge difference in
the selling power of your ad. John Caples, the master of direct response (and
member of the Copywriters Hall of Fame) developed a list of the most effective
words to use in headlines. Over more than 40 years of copywriting experience,
he found using these words significantly increased the response rate:

• Advice • Now

• Announcing • Reduced

• At last • This
1
• Free • Wanted

• How • Which

• How to • Who else

• New • Why

The danger of cherry-picking words from this list is that you might forget what
interests the reader. A headline that appeals to the reader and draws him or her
into the copy is far more powerful than an empty phrase full of the “right words.”
For example, using the above list, you might consider this to be the world’s
greatest headline:

At last! Announcing the free advice which you’ve always wanted. Who
else would show you a new way how to do this at a reduced cost?

Proven styles of headlines

Additional research has shown that certain styles of headlines tend to pull better.
Once again, it is far more important to write a headline that achieves one or
more of its purposes than to write some empty bit of fluff that fits some formula.
The three proven styles of headlines are:

• Question

• How-to

• Quote
 HEADLINES AND TAGLINES 155

The first two are effective because they involve the reader. If you ask a question
(and the reader is interested), you stimulate involvement. The same is true with
a how-to headline, but you have to finish the sentence with something that
interests the reader. Quotations can be effective because they are usually con¬
nected to a person, and people are interested in other people, be they celebrities
or ordinary Joes or Janes. A quotation hints at a story, which, if it interests
the reader, fosters involvement. Table 7.2 shows some examples of each of the
three styles.

Table 7.2 Headline Styles

Style Headline Visual Client

Question Do you really need more Plain girl morphing MADD

proof that drinking into a fashion
impairs your judgment? model as it gets
later in the evening

Question Ever see a grown man Broken whiskey bottle Crown Royal
cry? on floor

How-to How to convert liters Race car and racing Acura

into cups trophies

How-to How to write an obituary [All-type ad] Partnership for a

for your teenager Drug-Free
America

Quote I told my dad I stopped Redneck-looking guy Winston

raising hell and he smoking a cigarette
called me a quitter.

Quote These tables are my voice DJ scratching two Mountain Dew Red
and I’m about to holla turntables
at the world.

Using the creative tree for headlines

Think of an upside-down tree. The base is the basic positioning statement. The
main branches are the various product attributes. Headlines sprout from each of
these branches. First start with that One Thing you can say about the product.
This is not a headline, but it will give you some idea starters to build one or
several. Figure 7.1 on page 156 shows an example.
You can keep adding more branches based on other key copy points. This
can go on forever. As with all creative writing, if you’re on a roll, don’t quit.
Keep writing headlines even if 99% of them are awful. A real stinker may trig¬
ger a winner.
156 CHAPTER 7

Purel waterless hand cleaner kills

99% of germs on contact, comes in
handy pocket- or purse-size
container, contains aloe vera and
dries on your hands in seconds.

Waterless Convenient container Aloe vera Dries in seconds

Now germs Sanitation on Tough on How to keep your hand

have nowhere the go. germs. Easy on towels looking brand new
to hide. your hands (don’t use them).

Who needs Portable protection. The hand lotion Works fast, then
soap? that helps disappears.
prevent disease
_i—_
Figure 7tl.The Creative Tree: Positioning Statements Branching Into Headlines

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7.15. Question: This ad from the 1920s is considered one of the 7.16. Question: This question could be used in a number of
all-time classics. It ran at a time when people were actually potentially uncomfortable situations.
concerned about appearing literate. If you want to improve your -——--
vocabulary and writing skills, you have to read further.
 HEADLINES AND TAGLINES 157

“I used to be known as a big stiff. Now

Osteo Bi-Flex‘ has put new' life in my joints.”
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f /"ITf1 iPliMW■ vatuUjftf* So over time, you'll «w moving *mi feeling:
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Put Sam tm fleck k> Year Joints. ■■ , ■ .

7.17. How-to: This ad shows how to convey snob appeal in a fresh, 7.18. Quote: In print, any headline written in the first person
nonconfrontational way. can be considered a quote. This is the print companion to
a very funny TV commercial with the same theme.

From Those Wonderful Folks ... were paying me $50,000 a year plus a $5,000-a-year
expense account, and I thought they deserved some¬
Jerry Della Femina developed one of the most famous
thing for all this bread. So I said, “Hey, I’ve got it, I’ve
headlines that was never used. Della Femina’s agency
got it.” Everybody jumped. Then I got very dramatic,
had just won the Panasonic account, and they were
really setting them up. “I see a Headline, Yes, I see this
stumped for ideas.
Headline.” “What is it?” they yelled. “I see it all now,” I
One guy said, “Well, what are we going to do about said, “I see an entire campaign built around this
Panasonic?” And everybody sat around, frowning and headline.” They all were looking at me now. “The
thinking about Panasonic. Finally, I decided, what the headline is, the headline is: From Those Wonderful
hell, I’ll throw a line to loosen them up—I mean, they Folks Who Gave You Pearl Harbor.”5
158 CHAPTER 7

7.19. Split headline: The first part connects with the visual and 7.20. Graphic in headline: Nike is beginning to dominate the
also leads into the second part, which could also be a slogan. golf market the way they captured basketball, with simple,
- powerful messages.

Writing Headlines with Style

If you work on it, you can add a little spice to your list of headlines. We offer a
few suggestions in this section. Try to work some of them into your long list and
see if they lead to anything worth keeping.

Be specific. Let’s go back to Ogilvy’s classic. Do you think it would have been
nearly as good with “This is one really quiet car” or “The clock is louder than the ,
engine”? Without turning it into a laundry list of specs and features, see if you
can work some details into your headline.

Rhyme, rhythm, alliteration. As with taglines, using rhyme, rhythm, and

alliteration can make a headline more memorable. Some might say a rhyming
headline is clever. Others may think the same headline is cheesy. If it’s mem¬
orable and sells something, who cares? Rhythm usually employs connecting a
few well-chosen short words, such as “Coke is it.” Alliteration, for those who
can’t remember English composition, combines two or more words with the
 HEADLINES AND TAGLINES 159

PEOPLE:
WHO RUN: 562,810,398
THE 100 METERS:
IN 9.79 SECONDS:

A,

7.21. This student ad promoting USA Track and Field is all specifics, and that’s what
makes it interesting.

same initial sound, such as “The joint is jumping” or

“Every kiss begins with Kay.”

Judicious use of puns and wordplay. Sometimes puns

work. We did an ad for a luxury boat company that
showed our product docked at a marina with many other
fancy boats. Some of the other owners were checking out
our client’s product. The headline: “Pier Pressure.” Cute?
Stupid? You decide. This tip could also include wordplay
and double meanings. As with puns, be careful.

Parallel construction. This is just a fancy way of saying

you’re combining phrases or sentences with similar key
words to make a point. A few years ago, VISIT FLORIDA
used the line “When you need it bad, we’ve got it good.”
A student wrote an ad for Purel waterless hand cleaner
making the point that money is full of germs and other
nasty stuff. Her headline: “Dirty money. Dirty hands.”
7.22. Alliteration in a stripped-down
version.

7.23. Sort of a pun. Sort of a twist. Sort of a double meaning. Sort of an overstatement/understatement. Sort
of a waste of time, since the client rejected it.
160 CHAPTER 7

It’s not only

the yardstick,
it’s the ruler.
It’s the most innovative;

7.24. Aa “player” and a play on words. 7.25. This ad not only features a clever head¬
Sometimes you have to be very careful with line with double meanings, it alsp makes
wordplay. This ad probably works better on good use of white space and lines to high¬
the back cover of Maxim than in AARP. The light the product.
headline: “One Bad Mother pucker.”

w indow o F f i c: i
Try it with a twist. The headline is part of the concept, so give
it a twist now and then. Another example from our luxury boat
client: We showed the boat at a dock in front of a very nice
house. The owners of our boat were hosting a fancy outdoor
dinner party. The headline: “If your neighbors aren’t impressed,
C O R N E K O F FI C K
move to a better neighborhood.”

Understatement/overstatement. George Felton makes a good

point in his book Advertising: Concept and Copy about head¬
line/visual synergy and tone. “If your visual is wild and crazy or
obviously excessive, then back off verbally. And vice versa. In
other words, don’t shout twice.”6

Alkrrt Ineffective headlines

Edmonds
We can’t tell you how to write the perfect headline. Unless it’s
an all-type ad, the headline usually doesn’t stand alone. So the
7.26. This is one of a long-running series value of a headline is usually related to how well it interacts with
from Allen Edmonds that uses parallel the rest of the ad. The ultimate value of a headline depends on
construction headlines and the slogan the expectations of the client and the results achieved. “Free
“For all walks of life.” donuts” may be the most effective headline to attract police¬
men, if that’s your objective. A lot of headlines work very well

■■■■■■■■■■ nHHHHHHm
 HEADLINES AND TAGLINES 161

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Knowledge is power. Feel free to flex.

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7.27. How do you promote a clothing optional 7.28. Overstatement = Wimpy but lovable kid flexing for the camera,
resort tastefully? By twisting the traditional Understatement = “Knowledge is power. Feel free to flex.” This would not have
meanings of “button” and “suit.” worked nearly as well with a photo of a pumped-up weight lifter or a caption
- headline such as “Do you have a wimpy portfolio?”

on Planet Schlock, but there are some that just scream, “Think again!” Some
things to look out for:

• Asking a question that can’t be answered (confusing)

• Asking a question that can be answered with a simple yes or no

(no involvement)

• Using a headline as a caption, describing rather than interacting (no syn-

ergy with visuals and limited involvement)

• Stupid puns (“stupid” defined as having absolutely

no relation to the product or market)

• Insulting, condescending, patronizing (annoys

readers)
"Vue done as many as
19 drafts on a single piece
• Being clever for the sake of cleverness (trying to
impress rather than persuade)
of copy. I wrote 37 headlines
for Sears Roebuck last
Evaluating headlines week and I think I got three
When writing headlines, you’re faced with the same good enough to submit"
dilemma as with the overall concept. Do you write one that —David Ogilvy7
looks good in your portfolio or one that works hard at sell¬
ing something? Once again, the answer is... that depends.
Just as most people think they are experts on taglines, even
162 CHAPTER 7

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and value:
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7.29. This might have been a very effective ad, but 7.30. A weak question headline followed by a weaker question subhead.
would you buy expensive construction equipment “How can a truck loaded down with so much technology outrun everything
from people who admit they might be insane? in its class?” (Maybe because it’s loaded with technology?) Then the subhead,
“Have we gone too far? Or have the others not gone far enough?” (You can’t
answer those questions either, and we’ll never know from the copy.)

more have opinions on headlines. Some like straightforward news headlines, because
there’s no mistaking the message. Others like obscure references that hook a select
group and leave the rest scratching their heads. Still others think silly puns are the
height of creativity, while others just groan.
While there are infinite degrees of cleverness and clarity, our advice is:

If you can’t be clever, be clear.

In other words, if you can’t come up with a least one different, twisted, unusual,
or interesting headline, then say it straight and always keep in mind the visual is
there to work with the headline, not just to sit above a caption.

Headline Checklist
Before you settle on one headline, run through the following guidelines. Your
headline doesn’t have to meet all these criteria, but it should cover some of them.

1. Let your headline sit for a while. Do you still love it the morning after?
(Or do you slap your head and say, “What was I thinking?”)
 HEADLINES AND TAGLINES 163

2. Does your headline work with the visual or is it just a caption or, worse,
completely irrelevant?

3. In your vision of the layout, does the headline look important? Is it read¬
able? Does it have the proper proximity to the visual and body copy?

4. Can you do the “billboard test” and still have a concept that makes sense?

5. Does your headline appeal to the reader’s self-interest?

6. Does your headline pull readers into the body copy?

7. Be honest. Is this the best you can do? Or can you start round two or
three or four to come up with a list of great headlines? Keep running
branches off that creative tree.

8. Do not use a strong subhead to “explain” a weak headline. Use a strong

headline and you might not need a subhead. (Remember, less is more.)

9. Be careful with puns. There’s a reason they’re called the lowest form of
comedy. Don’t be cute just for the sake of cuteness. If a pun has a pur¬
pose, try it. Otherwise, find a more clever way to say it.

10. Think campaigns. How are you going to follow up that killer headline?
Will your next five ads be just as good?

Subheads
As you would expect, the subhead is usually underneath the headline. Some¬
times it immediately follows the headline, as if to say, “What we really meant to
say is . . .” Other times subheads are used to separate long copy blocks or intro¬
duce new thoughts in an ad. In this context they are sometimes called breakers.
The four main purposes of a subhead are:

• Clarify the headline.

• Reinforce the main idea stated in the headline.

• Break up large copy blocks.

• Lead you into the body copy.

Subhead traps
Too often copywriters use subheads to “explain” the headline. You may feel the
headline is too weak or the reader won’t get it. So you add a straight line so
there’s no mistaking the benefit. Many times this is done to convince a skeptical
client that a risky ad concept really is a serious selling effort. We don’t like
subheads used this way for two reasons: First, why write a weak headline and
prop it up with a subhead? Write a strong headline in the first place. And
second, use as few words as possible to convey your message. Adding a subhead
can more than double the clutter in an ad.
Another subhead trap: Don’t use the subhead to introduce a new, separate idea
from the headline. Going back to our Ogilvy headline, you don’t want to follow
164 CHAPTER 7

•.7-—

Its perfect!
It‘s not a golf ball No one in this cobin has
to know I paid Coach.
No one at the office has to
know I flew First Class.
' *

It’s a story !
Telling that tall tale is never complete
without a Titleist. More than offering the best
performing golf ball on the market, Titleist
lets you recreate those moments you love best!
Whether it’s smashing a 300 yard drive down
the fairway or sinking that 15 foot birdie putt,
you know Titleist will never let you down!

wPj ~
You Tsiii the Story, we provide the ehoing

7.31. In this student-designed ad, the headline catches the 7.32. The headline promises a direct benefit, and the subhead
reader’s attention and uses the subhead to lead you into the copy. reinforces it.

that beautiful headline with a subhead that

says, “What’s more, the new Rolls-Royce offers
the highest horsepower of any luxury car.”

Preheads
This is also called the overline. Whatever you
call it, it precedes the headline. You can use
preheads for a number of reasons, but the four
most common are:

• Set up the headline.

• Define the audience.

• Identify the advertiser.

• Identify an ad in a series.

As with subheads, you need to decide if a

prehead is needed to explain the headline. If
so, rethink the headline and you may not need
the prehead. In many cases, the prehead asks a
7.33. Here the subheads break up big blocks of copy. A question that the headline answers or starts a
reader can scan the subheads to get a feel for the copy and thought completed by the headline. In these
read in detail if it’s interesting. cases, you could consider the prehead to be an
integral part of the headline.
 HEADLINES AND TAGLINES 165

Taglines
We call them taglines, but you could also say
they’re slogans, signature lines, or theme lines.
Usually, they are the catchphrases that appear
after the logo in a print ad or at the end of the
commercial, and, in most cases, they are very
forgettable. However, if they’re done right,
taglines can be the most important element of
a campaign.
Some clients expect too much from a
tagline. They don’t want a little blurb to sneak
under their logo. They demand a “statement”
that (a) defines the company, (b) positions
the product, (c) denigrates the competition,
(d) reassures the stockholders, and (e) will be
approved by the CEO’s wife. The more objec¬
tives a tagline tries to achieve, the more
generic it becomes. When a tagline becomes
generic, you can put it under any logo with
negligible effect. Too many taglines are written
by committees and tested by management
panels. They’re cobbled together with a few 7.34. Here’s a case where the prehead is an integral
key words that by themselves mean nothing part of the headline. The juicy beef and oddball
but, when used in a composite slogan, become “Macaroni Salad” catch your eye. Then you read the
completely irrelevant. prehead for the complete message.
Before you start cranking out slogans you
have to ask the client, “What’s the One Thing
you want to say?” Do you want to convey a general attitude or tone? Do you
want something specific about the products? Do you want something relating to
your customers? Just what the heck do you want? George Felton sums it up
pretty well in Advertising: Copy and Concept: “Slogans . . . had better do more
than just be clever . . . they need to be smart.”8 The smart taglines stick with you
years after they first appear. They become part of the popular culture and define
their place in time as well as the brand.
According to Advertising Age, these are the top 10 slogans of the 20th century:

1. “A diamond is forever” (DeBeers)

2. “Just do it” (Nike)

3. “The pause that refreshes” (Coca-Cola)

4. “Tastes great, less filling” (Miller Lite)

5. “We try harder” (Avis)

6. “Good to the last drop” (Maxwell House)

7. “Breakfast of champions” (Wheaties)

8. “Does she ... or doesn’t she?” (Clairol)

9. “When it rains it pours” (Morton Salt)

10. “Where’s the beef?” (Wendy’s)9

166 CHAPTER 7

Why Have a Tagline?

The primary purpose of a tagline is to establish or reinforce the brand name. To
do this, the tagline should do the following:

• Provide continuity for a campaign. A tagline may be the only common

component of a multimedia campaign. It can also be the link between
campaigns with very different looks. A good tagline transcends changes in
campaign strategy. No matter what BMW is doing with their ads, the cars
are always “The Ultimate Driving Machines.”

• Crystallize the One Thing associated with the brand or product: Whether
it’s staking out a position or implying an abstract attitude, the slogan is an
extension of the brand name. When you can mention a brand name and
someone else quotes the slogan, you know you’ve got something.

Going back to concepts discussed in earlier chapters, the tagline can help
foster Awareness and comprehension of a brand or product. A few well-chosen
words ran define the brand, separate it from the competition, and anchor it in
the reader/viewer’s brain. Think of M&M candies that “melt in your mouth, not
in your hand.” It’s not only a statement of a real product benefit; nobody else
can say this.
A good tagline increases your creative freedom. When the message ends with
“Only in a Jeep,” you can have a lot more fun with the content.
A few years ago, Cadillac wanted to stress their engineering expertise and styling
panache. They developed the tagline “The Power of which did nothing to con¬
vince existing or potential customers they had anything new. The next year, they

7.35. In 2004, Chevy began to lead an American Revolution. This slogan was used as the
headline in all Chevrolet car and truck advertising for the model year.

^mm
 HEADLINES AND TAGLINES 167

unveiled an entirely new attitude with “Break Through,” which not only promoted
a radical new car design, but also featured Led Zeppelin’s “Rock and Roll” as the
theme music. They still haven’t captured all the Baby Boomers who prefer luxury
imports, but at least they “broke through” to deliver a new message.

How to Write More

Effective Taglines
The following are a few tips and techniques for writing better taglines. Of
course, not every tagline is going to possess all these traits (unless you find the
successor to “Just do it”). These guidelines are offered to help you evaluate your
taglines before you submit them to the client.

Keep it short and simple. “Drivers wanted” sticks in the mind better than VW’s
older slogan, “It’s not a car. It’s a Volkswagen.” Think billboards—no more than
six words. Three words are even better. As a much better writer once said,
“Brevity is the soul of wit.” Just make sure your witticism makes sense.

Think jingle. Even if you never put your tagline to music, picture it in a TV com¬
mercial. You can use the old tricks of rhythm, rhyme, and alliteration to make it
more memorable. For example, no one over 40 can forget “Winston tastes good
like a cigarette should,” even though cigarette advertising on TV ended in 1971.
A modern example: Kay Jewelers says, “Every kiss begins with Kay.”

Try to differentiate the brand. Can you come up with a simple way to separate
yourself from the competition? Visa says they’re “Everywhere you want to be,”
implying that American Express and MasterCard aren’t. Currently Dodge is run¬
ning “Take life by the horns,” which only makes sense if you can pair it with
their Ram logo. The ideal slogan can’t be used by any other brand. Altoids estab¬
lished themselves as the “Curiously Strong Mint” so well they could extend the
tagline to other products such as the “Curiously Strong Sour.”

If you have to be generic, go global. Many brands use what could be called
generic slogans. They’re positive, easy to remember, and can be translated into
most languages without changing their meanings. When they stand alone, these
slogans could work for just about anyone. The difference is they’re supported by
millions of dollars of advertising and promotion. So if Joe’s Burger Shack says,
“i’m lovin’ it,” no one notices. When McDonald’s does it, it becomes major
marketing news. If you can remember the innocuous slogans for most mass-
marketed packaged goods, it’s because they’ve been beaten into your brain.

Play with words. A tagline can be more memorable if you take a common
expression and twist it just enough to get attention. Chrysler promotes their
preowned cars as “Brand Spanking Used.” Years ago Panasonic promoted the
ergonomics of their home electronics with “So advanced, it’s simple.” Sometimes
you can give your slogan a double meaning. For example, a drug company tar¬
geted doctors with “Healthy concern for your practice,” indicating that the drug
company was successful and cared about their customers.
168 CHAPTER 7

7.36. When someone says “beef,” most people respond, 7.37. In 2003, McDonald’s unveiled their global slogan “i’m
“It’s what’s for dinner.” They still use the slogan, but lovin’ it” with a jingle sung by Justin Timberlake and “youth-
now it’s tucked under their tiny logo. However, it’s so oriented” images. Nothing screams “hip” and “cool” like a
well established that their Web site is beefitswhats multinational corporation that specializes in mass-merchan¬
fordinner.com. dized food and sketchy service.

7.38. Nissan developed several radical new car designs to jump-start lagging sales. Their
new “Shift” slogan was also a radical departure. After the word “Shift” they added a series
of attributes that flashed rapidly at the end of their spots and alternated on their Web site.

Don’t confuse or mislead. In the effort to be creative, some writers forget that
the rest of the world is not as clever as they are. An obscure one-word tagline
could be misunderstood or, worse, ignored. Make sure the slogan fits the image
of the brand and your overall message. A few years ago, United Airlines used
 HEADLINES AND TAGLINES 169

“Rising” as their slogan. It was certainly an appropriate word for an airline and,
at the time, indicated bright prospects for the employee-owned company.
However, given the financial status of United and the industry in general, no one
would believe they are still “rising.” Viagra used to say, “Let the dance begin.”
Maybe “Rising” would have been better for them.

Justify your choices. Everyone is an expert on taglines. So when you submit a

list to the client, make sure everyone knows the parameters you were given. Too
often the rules change after you’ve received the initial game plan.

The Creative Tree for Taglines

Writing taglines is a lot like developing whole concepts. Start with the One
Thing. Then say it straight. From there you can veer off in several directions, each
with a list of possible slogans. Figure 7.2 illustrates a brief template for a business-
to-business client, although this technique works for any product or service.

THE ONE THING

V
This company makes innovative DC
fractional horsepower motors used
in automotive, lawn and garden,
marine, medical and appliance
applications and provides
complete design, testing, and
prototyping services.

Superior Customer
Wide Selection Advanced Designs
Support

A world of solutions Creating Your Future Exceeding Your

The right choice Forward Thinking Expectations
The right selection Leading the Way On Your Side
Power solutions New Ideas to Power Partners in Profitability
worldwide Your Business Innovative Synergy
Moving to the Next Global Resources/
Level Local Support

Figure 7.2. A Creative Tree Template for Slogan

170 CHAPTER 7

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7.39-7.41. Chevrolet used a phrase from an early 1980s Bob Seger song and turned it into one the longest-
running slogans in company history. Originally used for large pickups, “Like a Rock” worked with their vans and lighter trucks,
remaining the one constant through years.
 HEADLINES AND TAGLINES 171

As you’ve probably noted, the majority of the taglines in Figure 7.2 stink.
Most of the time, you’ll start with a generic slogan, but as you keep working,
you’ll branch out. You can have as many branches as you’d like. Don’t worry if
some of your slogans don’t fit a defined category—-just keep writing. Don’t start
editing until you get a huge list. Then weed out the obvious stinkers. Keep refin¬
ing your list until you have a group of taglines you can live with. So you might
come up with something a little better, such as:

The Power of Innovation

Solutions in Motion

We Power Your Ideas

OK, they’re still not “Just do it,” but don’t stop trying. Keep sending out branches.
You’ll find one that works as long as it stays true to the values at the base of the tree.

Ttaglines Need Your Support

Even “Just do it” would not have made much sense if it had been launched in a
campaign that highlighted the features and benefits of Nike shoes. It had to be
paired with people dedicated to exercise. That synergy made it magic.
That’s why writing taglines can be so pointless. They’re usually evaluated by a
committee in a vacuum, without the benefit of massive ad support or even a con¬
nection to the campaign. Once a slogan becomes established, you can vary the
images and copy in the ads, but they have to be there when that tagline is intro¬
duced. Once it’s established in the consumer’s mind, it becomes part of the brand,
transcending the creative execution that may change from year to year.

7.42. Taglines as we know them would cease to exist if it were up to the client.

Source: Illustration by Dan Augustine.

172 CHAPTER 7

Who’s Who?
Morris Hite—Morris Hite may well be the most significant figure in the evolu¬
tion of advertising in the Southwest. He grew Tracy-Locke from a small Dallas-
based advertising agency into a communications empire that included the
Southwest’s largest advertising agency, one of the country’s five largest marketing
research companies, a major public relations company, and an agency for smaller
clients. (See, you don’t have to be a copywriter to offer words of wisdom.)

David Ogilvy—Founder of Ogilvy & Mather, David Ogilvy was, first and fore¬
most, a copywriter. One of the pioneers of image advertising, Ogilvy also wrote
two best sellers, Confessions of an Advertising Man and Ogilvy on Advertising. He
was one of the most eloquent and influential voices in advertising and today is
still one of the most quotable.

Notes I N

1 David Ogilvy, Confessions of an Advertising Man (New York: Ballantine, 1971), 92.

2 Quoted in Phillip Ward Burton, Advertising Copywriting (Lincolnwood, IL: NTC Business
Books, 1991), 16.

3 Burton, Advertising Copywriting, 54.

4 Morris Hite, Adman: Morris Hite’s Methods for Winning the Ad Game (Dallas: E-Heart,
1998), 33.

5 Jerry Della Femina, From Those Wondeful Folks Who Gave You Pearl Harbor: Front-Line
Dispatches from the Advertising War (New York: Pocket Books, 1971), quoted on the Center
for Interactive Advertising Web site, http://www.ciadvertising.org/studies/student/96_fall/
femina/book.html (accessed June 30, 2005).

6 George Felton, Advertising: Concept and Copry (Englewood Cliffs, NJ: Prentice Hall, 1993), 93.

7 Quoted in Denis Higgins, The Art of Writing Advertising: Conversations with Masters of the
Craft: William Bernbach, George Gribbin, David Ogilvy, Leo Burnett, Rosser Reeves (New York:

McGraw-Hill, 2003), 92.

8 Felton, Advertising, 99.

9 “Top 10 Slogans of the Century,” Advertising Age, March 29, 1999, http://www.adage.com/
century/slogans/html (accessed June 15, 2005).
 Body Copy

W e’ve discussed so many issues involved with copywriting—

maybe it’s time we actually talked about writing copy. As you’ve
seen in many of the examples in previous chapters, not all ads
have body copy or any copy. In fact, many people believe that readers won’t read
copy in ads and the best we can do is get them to remember a brand name. That
may be true, but a good creative person needs to know how to write body copy.

Who Needs Body Copy?

We asked this question in Chapter 1. Here are a few more answers:

You never know when you’ll need it

Versatility is one of the keys to survival in the creative field, especially in a tight
job market. You might write a cool tagline now and then, but what happens
when the client wants a campaign with a series of 200-word spread ads? You
should know how to write all varieties of copy well. If you can’t write that well,
you should at least be able to recognize and respond to good writing by others.

Ads aren’t the only place you’ll need copy

Remember Gossage’s line about people reading what interests them and some¬
times it’s advertising. As we’ll discuss a little later, there are many reasons to
include copy in advertising. But there are many other varieties of marketing
communication where good writing skills are just as important:

• Web content: An ad with one line of copy may drive a reader to a Web site
that’s chock-full of copy. Writing copy for the Web has its special rules,
but a good portion of it is traditional advertising writing. The objectives
are the same as with print ads: Grab readers, hold their attention, persuade
them to consider your product, and tell them how to get it.

173
174 CHAPTER 8

• Collateral: Your ad may have only one line that says,

“Send for a free brochure.” Who’s going to write that
free brochure? Hundreds of millions of sell sheets, cat¬
alogs, brochures, flyers, spec sheets, magazine inserts,
"I have always believed that and other promotional items are printed every year.
writing advertisements is Somebody’s got to write ’em all.
the second most profitable
• Direct mail: What makes you open a piece of
form of writing. The first, of junk mail? Somebody wrote something that caught
course, is ransom notes." your eye. Once you open it, you want to know more.
Maybe it’s a letter, or a brochure, or some other piece
—Phil Dusenberry1
of information. Somebody wrote that too.

• Reports, plans books, proposals: Who says creative

writing has to be limited to promotional material?
Clients appreciate a well-written, crisply edited proposal or plans book. In
fact, any manager would rather read something that quickly gets to the
point and doesn’t waste his or her valuable time. You can take entire
bourses on business writing, and, judging by some documents we’ve read,
not enough people have taken these courses. Using some of the writing
skills we’ll discuss here will help make all your business writing better, not
just your ad copy.

What you need to know ... and use

No matter what the length or content of the body copy, you should keep a few
basic concepts in mind. These apply to advertising, collateral, business docu¬
ments, and basically any commercial form of writing:

1. Don’t write to impress—write to persuade.

2. What you say is more important than how you say it.

3. Remember the rules of English, but don’t feel

forced to use them.

4. Above all, write to the individual, not the masses.

Why do we need copy in ads?

Some ads just work better with copy. Here are a
few reasons:

• Considered purchase: Whether it’s an industrial

flow control valve or a power drill for the home
owner, people want to know more about the prod¬
uct than its brand name. Go back to the founda¬
tions of the project and find out how the product
features align with the wants and needs of the 8.1. Collateral: Beautifully designed,

intended buyer. Prioritize them and string them beautifully written. Who says nobody

together with style. That’s body copy. reads anymore?

 BODY COPY 175

• Differentiate products: Why should a reader believe a Lincoln LS is a better

value than a BMW 5-Series? Because the headline says it is or because the
copy details independent testing that shows the Lincoln is faster, corners
better, and overall performs better than the more expensive import?
Sometimes you have to lay out the facts to make your case.

• Multiple features: We hammer that One Thing into your brain. But
sometimes there’s more than one thing to talk about. You may lead with
the main point but then bring in other key benefits to build a more
persuasive case for the product. If you don’t have the luxury of producing
single-feature ads, you may have to find a way to weave several key points
into the copy.

• Difficult, complicated, or controversial subjects: If you want to change

someone’s mind or have him or her do something difficult, a catchy
slogan isn’t enough. For example, a recent anti-drug ad tells parents
who smoked pot in their youth not to feel like hypocrites when
they talk to their kids about drugs. That’s much more effective than
“Just say no.”

The case for long copy

Writing good long-copy ads (200 words or more) is a fast-dying art. Reason 1:
It’s assumed no one reads ads, so why bother? Reason 2: No one knows how
to write long copy well enough to hold a reader’s
interest... so see Reason 1.
Be honest. Even in textbooks that showcase the
greatest ads ever written, do you actually read the copy?
You probably don’t even read the captions if they’re
more than five lines long. Before television shortened "There is no such thing as
our attention span to 30 seconds and the Internet cut long copy. There is only
that to 2 seconds, magazine and newspaper ads had too-long copy. And that can
enough copy for a beginning, middle, and end. We
be two words if they are not
could feature many wonderful classic ads that read like
well-crafted short stories, so damn persuasive that even
the right two words.”
we want to run out and buy the products. But showing —Jim Durfee2
these great ads from another age won’t be of much
value if your creative solution is a three-word headline
plus logo.
WTien we look at ads from the 1920s through the
1950s, we’re amazed at the craftsmanship. The best ads had a rhythm and flow
that sucked readers in, held their attention, and, in the end, left them convinced
that the right brand of baked beans or laundry soap could improve their lives.
Can you imagine a 400-word ad today for any kind of commodity packaged
good like detergent, cereal, coffee, cigarettes, or whisky?
People will read long copy if they have a reason. John Caples said, “Don’t be
afraid of long copy. If your ad is interesting, people will be hungry for all the
copy you can give them. If the ad is dull, short copy won’t save it.”3
The key to writing copy that’s read, long or short, is to involve the reader. If
the ad holds no reason to read on, don’t expect anyone to get past a headline or
176 CHAPTER 8

visual. Here are a few examples where long copy can help
capture attention and convince a reader:
WORDS OF WISDOM
• A cruise ship line outlines the daily activities for
"Put every consumer in a class a typical family of four on their weeklong
if you like—and make sure it's Caribbean cruise. You could look at a glamour
a class of one ” shot of a big boat. Or you could read about snor-
keling, rock climbing, wine tasting, whitewater
—Phil Dusenberry4
raffing, theme parties, shopping, making new
friends, and on it goes.

A new brand of luxury car offers more horsepower, better handling, more
interior room, more standard features, and a better warranty than the estab¬
lished leaders. You could show a pretty picture of the car, but how would you
know you get so much more for the money?

• A company that sells plastic plumbing systems wants customers to know

their product is cheaper and easier to install than copper pipe. But plumbers
. also want to know if it’s certified safe, meets local plumbing codes, and is
• compatible with other systems. A single visual/caption won’t cut it. '

• A child welfare agency wants you to understand the suffering of impover¬

ished children in developing countries. So they write a day-in-the-life pro¬
file of an individual child, detailing the struggles she faces just to stay alive.

The launch of Christmas

IT WAS A REAL

BLESSING," Frances in ApriK? ESA was made possible

Vaughn said after through the commitment of

volunteers from the many people and corporations,

Ch r i stmas in April including a grant from the Toyota

program gave her

E SA foundation. We’re proud to

house a face lift.

say we’ve been a supporter from

“A whole slew of people gave

the very start.

up their weekend to help me.

They fixed my back porch.

Painted every room. Gave me a

stove. They even put a brand-new

roof on. 1 could’ve kissed every

one of them.”
w t As a result, the national body

has been able to help more

This neighborly love is
communities start local programs.
being rekindled all over America,

thanks to Christmas in Api il.

Thousands of people from all

TWENTY fThe- number has grown from

13 to 43 in just two years.)

Frances Vaughn is certainly

walks of life are handing together
thrilled the folks Ground
ro help the poor, the elderly, the pence I Washington rallied behind
handicapped.
Christmas in April.
By repairing homes, these 99
In fact, she would have jumped
caring volunteers are doing more

than painting and hammering.

STRANGERS. through the roof with joy if it

FRANCES VAUOHN hadn’t just been repaired.

They’re restoring dignity, hope

and pride.
TOYOTA
INVESTING IN THE INDIVIDUAL

8.2. One of a long series of corporate ads for Toyota. This one discusses a grant from Toyota to an organization that helps senior
citizens renovate their homes. It’s a story that can’t be told in 25 words or less.
 BODY COPY 177

] Any e.urs«> words uUftrerf That's a lot of peanuts!1

TSfcV. SAN | i» the dtrocvkm ofBobWYanjik Leav j rig the Oka -

| transportation department, vango Delia sweatier,
i however, were quickly ra- itchier and wiser, we
I irturted as we entered the have only the kind¬

SCRATCHING ONLY MAKES IT WORSE. !

|
primordial delta. The ter-
I rain, although challenging
to man, machine and anti-
est of words
Botswana. Sure, the
roads are lousy and
for

i parspirftnt, is home to on the tsetse flies bite

(A JOURNEY THROUGH BOTSWANA’S OKAVANGO DELTA.! hard But as a break
incredible array of wildlife
On our Brst day wo from vacation crowds,
Recently vre «ehfeeu>d th<- n« Nha&tt PatfefUitfer f« <>»* of she Mraghost u-et liriv,--, tmajdimWc, ,> S.QMUxndo saCori acmxa Africa.
Owr fettfSMjy treatsd mk to i»crV4iidv wiMHfe. hrsuthtAking laedvcApts and sudw a> the p«><>rc#i i:iniw for toad* you cae uoagirw. saw olephasito, airaffe. few places compare.

Ow Use nest few month*. vre'H sfearr hjghdghnf, fewUghta, our favorin' 4s*t>/mtlctw atrd. surrivnftips. Wc may even «»wiU<m a hippo*, zebra, buffalo, wildebeest. ga&elU’ and
word or two about the vehicle that took aa there msd feark ie one piece. Toii.iyV a tot v. as ihc asying ^ocs, hssgfe» ■ n Botswana. wart hog# the latter of which if)RIVlKO safas; g a re tv auue r;a
ALERT) borrow dens into the ground that jj»l a in frf.tr, u»iag rfe« P*-t:feb*wl*t* k«m *h>5« tfrtvtft*
New York potholes to shame. stfst an «ki>ha«U':'W(d'. '£k»> sound is life* dust of an vk-
r j r. f.tsd (ta& c&unr ii# iw#d i« is jmur

W : lx- recompensed by Die hundreds of differant amma! The following days were spent four-wheeling
■n<.n, Zkitt ifowgfe th* Pathif&itt fostfo w* <bip-*&a*t*nt
ITH OVER 86% (if In# country covered in sand, j species that lifhabit this wildlife ?sasis «.And, of through the thick sand and soggy marshes that ., thw wwfci no*. i>-> # gfctxf *feiag. - •• • •>-
scorching temperatures that, routi.uofy soaj- I course, the fact, we could set our automatic tempera- pass for road* in Botswana, and observing the
«vcr 115" F, and roads that have never soon an ounce : lure control on a more humane 72Th
of jssphalt, Botswana's Minister of Tourism w'ould ■ Our jumping'nff
scorn to have hb work cut out for him. Add the ubiq¬ ■ point for the Oko
uitous mosquitoes and v<*raciouR tsetse flies and : vango Delta was a ¥*« Alt NX »
you’d think bed quit ami find a new job. l small frontier town ) NISSAN
(WfHVlNOKR SK
Indeed, you'll find few souls * called Matm where.
rCATURCS
adventurous enough to visit this : iis our Puthfmdei k
j built-in ramjBiss con-
: fumed, we caught S. i>«*i -
5 Piaf-*»**? *»<>•-
a two - lane road
4. H-MKiy- <JW i?Mfe
north. It took cm? only ;i few minutes to surmise
that Botswana's Minister of Transportation must «. R»cfc
spend most of hi* time consoling the country's tx/*t%xfjAr«t%. ■
S. ftfc.m-*s-<*>*•«>
Minister of Tourism, for just two miles out fotfogj? to Srt ,*}«.
? !A«ixi»sSCOHxr«.
of Maun the tarred road abruptly ends ami
turns to sand. Indeed, since there is no 5? A. »>l*bi* ««to-
««A
pavement or gas station or traffic sign or conve¬ CPotfoJ rffU- 8'
S. ftM*. Mti *M* ^i•
nience mart for the long, slow ?6-ratio drive, info the
» *U<m«
delta, we recommend keeping the Pathfinder in
4WD and bsingmg along a good collect ion of CD’s. .». F*<-ns »o<5 »•«*<
ii«*J cap SvoWW*
52 A»Ail«bl**»o<
WWftfe <«&;>*«•. .
Si R,•»<*■* ««*S *wi

cfephant herds. We’re pleased Pathfinder drivers desiring to visit the Okavango
to report that the Pathfinder's in- con call their local travel agent or, if phone

rough and tumble country. But for \ V F creased horsepower and torque hills ore no object. Botswana's Department
VWte W«F»N»*:« MlSNiON handled the terrain with ease, the of Tourism at 01 389024'. We’re sure the
us, Botswana woo the perfect place
Esa newly improved ausponsion system Minister of Tourism would love to hear
to prove the mettle of the new Nissan Pathfinder You xr>; TWttbmi ^x«t the sit a<#r Iff.k Ni»as'
Osiaender. tt>>- faso*t *yert entity vcfewfe we haw- wr made. mad*- mincemeat of the humps, from you.
We arrived in Botswana o« Septoinla*r 30th, which
Ptwa dv«>g» W BK»t»dff>r.t«riRS, w*‘vc e«i4e»va<-ed td b»iW # i8 and. aesthetically speaking, oar
was, auspiciously, ‘Botswana Day?' Onr intended v«kicW th<i? prtr'iilw ;■,* owner stids 4R cJu:*>p!.5«#4! !svk! of
destination was the northwest corner of the country, rHageSrieoS. tisrfMy »«wJ reiSibihlY. WkN yropm xmc and vehicle looked quite sharp covered in Okavango
a-.3i»teoi»nKc, it st*ce<i4 j>rov»<t-> yesrs of loyft) service, whcn<v>;r mud. W«should also :«ld» immodmly that, we-learned
where Angolas? Okavango River spill# into Botswana’s
j«» Mitdt>i>r f»»r«uits feko yow. 'fe ivojfa «K(?e, i.sit o»
sands »nd fertns the Okavango Delta; the largest #t i-SOd 33S-aT4S fCsMdm Y-«Hi JWf-OJ&i? Of vi*it ax »t enough trivia about the Family Elephaotidae in
inland delta in the world. Here, we were told, tem¬ b(tp .C o « w.ntxsiso m»5or».eom/»b.'5>«tNf!i»}f f “ ensure us a spot on the Dual round of Jeopardy.

perature# only ranched 105'' and any dsscomlort would (Did you know African elephant* eat 16 hours 55 day?

8.3. When Nissan introduced their Pathfinder SUV, they didn’t just list features. Instead they put their vehicle on the road to some
of the toughest places in the world and wrote a travelogue. This beautifully written series contains lots of interesting information
about their exotic travels and, by the way, a little bit about the Pathfinder.

The story continues ... on the Web

Long copy isn’t dead. A lot of it just moved to the Internet. The purpose of
many ads is to drive readers to a Web site. There they can read to their hearts’
content without interrupting their magazine article. Or they can download and
print the copy for future reference. Beyond print, the Internet can show video
and animation, gather information, and do a lot of tricks you’d never get
from a magazine ad. Plus it multiplies the impact of the message and, because
the reader makes a conscious effort to contact the site, streamlines the
awareness-comprehension-conviction-action process. Remember IMC? 1 his is
a big part of it.
178 CHAPTER 8

longest ad we can. Charlotte had this idea—let’s

Eight Pages and
write a woman’s life. So I wrote it too long and
No Product: Who Says
had to cut it in half. I took it to Nike and I got
Long Copy Doesn’t Sell?
all choked up while reading it. Charlotte cried.
When they developed Nike’s “Empathy” campaign for
Nike cried. Then they said, “Can you do it on a
women, Janet Champ (copy) and Charlotte Moore (art)
run of the press (magazine stock)?” We said,
decided to ignore the research and simply “talk to
“No, absolutely not.” Finally, they said OK. It was a
women as human beings.” The campaign won a Kelly
hard sell because of the length (eight pages) and
Award and the phones at Nike didn’t stop ringing for
no product.
months. Janet Champ told us:
Everyone went crazy once it ran. There were
500,000 letters and calls to the agency and Nike.
We used only one model. All the others were real
This man whose wife suffered from depression for
people from a casting house in Texas. We were
years called and said he showed the ad to his wife
tired of being hemmed in to two or four pages. It
and she cried and said, “This is me.” And then she
bothered us that the rhen got big budgets. We said
started to run again.
if we’re going to be stuck with print let’s do the

Writing Structure
Types of copy
Knowing the various types of ad copy will never be as important as knowing
how to write a good sentence. However, it can be useful to recognize several copy
styles and know when to use them.

SOME SHE A NAKED WOMAN IN THE ICE CUBES.

OTHERS SIMPLY SEE THE NEED FOR MORE CHIVAS.

Tube The CHIVAS

!<■«■ Cube Challenge Now! Join Tlie Chivas Circle Now!
MtJm . Io join ‘Hi* CMusC&c* It is fr*» and as easy as
completing the Online Acceptance Form When you accept
oui invitation, you wit! become part of the select group of
people whose good taste and appreciation of Chut» R&g»l
entitle them to even more from this outstanding whisky

F« fhwo inibimaiion on cams puma vssil our Web *te at

«58383 imported by Chtesw 8»» Import Co Whim Wains.«¥'

8.4. The promise of seeing a naked woman in the ice cubes doesn’t require a lot of copy. But this Chivas Regal ad is a great example
of using an ad to drive a reader to the Web to read more copy or, as in this promotion, involve tne reader in an interactive game
 BODY COPY 179

The Story
This is also called “traditional” copy and features
three main components: a beginning, middle, and end.
Usually the beginning establishes the theme, makes a “There is no such thing as
promise, plays off the headline, and in general sets up ‘soft selV and ‘hard sell/
the ad. The middle is typically the sales pitch, with rea¬
There is only ‘smart sell’
sons you should consider the product or service. The end
is the summary and call to action. It wraps up the selling and 'stupid sell.”’
argument and encourages the reader to do something. A —Charles Brower5
well-crafted story does not have to be a long-copy ad.
But it should flow smoothly ... as if you were telling a
story that has a point.

Bullet Points
Many clients will say, “No one has time to read copy. Just list the key
points.” In many cases, this is just fine, especially if you can’t think of One
Thing to say and need to list a lot of features. Usually, the points are prioritized
by the importance of the selling features, with the most important always going
first. Too many times, the writer and client can’t decide what’s important, so
they list everything and hope the reader will find something he or she likes.
You’ll see a lot of bullet ads in retail newspapers, business-to-business maga¬
zines, and direct mail. This technique has sort of a “down and dirty” look, so it’s
usually not appropriate for a high-quality or brand image promotion. In addi¬
tion, a long list of short bullet points takes up more real estate than a few well-
written sentences in paragraph format. So if saving space is your only justification
for using bullet points, measure carefully and reconsider.
One technique that can be very effective is a mix of traditional sentences and
bullet points. The bullets highlight key points and, when done correctly, these
draw the reader’s eye to the most important selling messages.

One-Liner
Sometimes the headline is the only copy in the ad. Other times the headline
and visual work together to convey the main message and a single copy line adds
additional information. If you don’t have to explain a lot about the product, need
to direct the reader to a Web site for more detailed information, or just want to
promote a brand image, one-liners (or no copy at all) work just fine.

Copy Format
While every agency or company may have a different format, most use something
similar to the example shown in Figure 8.1 for manuscript copy. More and more,
writers skip the manuscript phase and drop typeset copy directly into a comp layout.
180 CHAPTER 8

8.5. This ad didn’t have to say much because (a) it was reinforced by a TV spot with the same message, (b) it can communicate the
main message without much copy, and (c) Mac users prefer pictures to words.

IT HAS A SAFETY FEATURE

FOR MOST EVERTITING
EXCEPT MONTEZUMA'S REVENGE IT HAS A SAFETY FEATURE
FOR MOST EVERYTHING
[Benefit headline with a trace of humor] EXCEPT MONTEZUMA'S REVENGE

That’s because Jeep Grand Cheorokee

is well prepared for all possible hazards

[First line ties in with headline

and extends mainselling point]

For starters, there’s its potent 4.7 litre Power

Tech V8 engine and exceptional anti-lock
braking system, both designed to help deliver
you from possible danger posthaste. -
asr
Next are the features that keep things a safe
distance from you: high ground clearance,
m ■

power locks, and, for off-roade use, steel skid

plates. Not to mention the preserving powers
of crumple zones and dual air bags, should
you fmd yourself up against something more
formidable than a nasty microbe.

And most important, with a really ragged

Quadra-Coil suspension and Quadra-Drive,
our most advanced four-wheel drive system ever,
Jeep Grand Cherokee enables you to foil a victoiy
That's because Jtsep Grand Cherokee is well And, most important, with a really tugged
party for peril practically any place-provided prepared Km possible luttardx Thanks In pan to Quadra-Coir" suspension and QuMkJra-Drlve.”
you don’t stray far from its protective parameters ihc’t’ol ktboratkMT of some of the most advanced our most advanced fouft wheel drive system ever,
or steel-reinforced cabin. safety systems ever engineered into a s)X>n utility kft’p Grand Cherokee eretbks you to (oil a victory
Ibr starters the ft! s its potent 4.7 litre Power party for peril practieully any plflce-provklcd
. ‘lech V8' enginr and exceptional .utti-kvk you don't juray fat from tis protective parameiws
[Long list of features tied to benefits and woven braking system, both designed to help deliver oi strcl-rdnforeed cabin.
together to fit the tone of the ad as well as the you from danger posthaste. So, in addition to not chinking the water, we
Next .ttv the features that UecpjiiU4gx17>afe strongly recommend you contact us online at
headline and opening line] disunite from votnhj^b-'gTound liear.ince, wsvw.jtx-p com or call us at k800-*W5-JkeR
power off’••road use. steel skid

So, in addition to not drinking the water, we Not i<> moot ion the preserving powers

strongly recommend you contact us online at

of crumple amts and dual air bags." should
you fmd yourself up against something mote
Jeep
www.jeep.com or call us at 1-800-925-JEEP. formittobl* than a nasty Mule mlurolw

t.'hUtfnm
[Ending paragraph comes back to opening line
and features a strong call to action]

8.6. Jeep has a long history of creating clever, interesting, informative ads. Many use the classic beginning-middle-end approach.
Here the first line of copy flows seamlessly from the headline. The main body copy weaves features, benefits, and the story line
together. Finally, the closing paragraph ties it all together, comes back to the main theme, and asks the reader to take action.
 BODY COPY 181

Exceeding Your Expectations

Carlson has a simple, fundamental belief:
Understand our customer's expectations.
This is essential in order to exceed your expectations.

What can a customer expect from Carlson?

•Concern •Sense of Urgency
Your needs and requirement the global marketplace now demands
are our first priority. "Speed-to-Market” in order for you to be successful.
Our pecftonot only ask At Cartson Tool, wu are committed to assisting you
tire rtglnS questions, they in meeting your intv-xm-critfcal deadlines.
listen to assure that our
proposed solutions are the
• Commitment to Quality
best ones lor you. Our ISO 900J quality system and strict adherence
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8.7.This ad has more bullets than a Schwarzenegger movie. The 8.8 Just in case you didn’t get the point, the one line of copy
theory must have been when you can’t decide what’s most says, “Crest Dual Action Whitening helps whiten teeth and
important, say everything in bullet points. repel stains so the white you get is the white you keep.”

Writing Style
Advertising is not English
In English classes you were told to write essays and reports with an assigned number
of words, paragraphs, or pages. These were graded for spelling, composition, vocab¬
ulary, and comprehension. Your teachers were not looking for tight, get-right-to-the-
point persuasion, but rather how you could expand a one-sentence idea into a
four-page paper. That’s fine for analyzing the existential philosophies of mid-19th-
century German nihilism, but it ain’t advertising.
In the real world, your writing will be evaluated on how well you communi¬
cate. Period. Using real words. In the way real people talk. Your writing must
attract a jaded reader and hook him or her in the brain. You are appealing to a
consumer’s wants and needs. Not to teachers who get paid to grade papers by
the pound. As Shakespeare said, brevity is the soul of wit. Good advertising is
both witty and brief.
182 CHAPTER 8

CLIENT Proctologists R Us
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V2-page newspaper

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Figure 8.1. Example of Copy Format

 BODY COPY 183

Now this doesn’t mean you can completely ignore

grammar and spelling. You may be able to dress like a
bum, but you can’t write sloppy. Even though you may
shatter a few rules of English grammar, the copy should
"I don’t know the rules of
be tight, easy to read, and clearly understood. Your copy
style should be tailored to the target audience and the grammar ... if you’re trying
product. Remember tone? That should guide your style to persuade people to buy
of writing. So an ad for a brand of chewing gum can be something ... it seems you
hip and informal, while a brochure for a million-dollar
should use their language,
yacht should be more formal and elegant.
the language they use
Persuade, don’t impress every day, the language in
When it comes to ad copy, you don’t have to impress read¬ which they think.”
ers with how many words you know. Or even with how —David Ogilvy6
much you know about the product. Instead, you have to
persuade them your product meets their wants and needs.
And you don’t have a lot of time or space to do it.
A common error many novice writers make is to show
the client how much they know about the product, especially for new products
or new clients. As Julian Koenig said, “Your job is to reveal how good your prod¬
uct is, not how good you are.”7 Some ads don’t say, “Buy me,” they say, “Look
how I can repackage what the clients told me so I can show them I was listening.”
That’s OK for the first draft. But on the next round, take out the meat axe and
start hacking away.
When you’re given a creative brief or you write a copy platform, don’t forget
to keep looking for the “So whats?” Find out what’s really important to the
consumer, then see if the client’s priorities mesh.

The “Seven Deadly Sins” of copywriting

A lot of teachers have told you how to write. Now we’re telling you how to write
better—by pointing out some common mistakes and how to correct them. We call
these the Seven Deadly Sins. When you see them in your writing, make a brief con¬
fession and do penance by rewriting. Even experienced writers commit these sins.
As with other transgressions, you can’t feel guilty until you know it’s a sin.
The Seven Deadly Sins are:

1. Advertising-ese 5. Laundry lists

2. Bad taste 6. Poor grammar
3. Deadwood 7. Wimpy words
4. Generic benefits

Let’s explore each of these sins in detail and discuss ways to avoid them.

Advertising-ese
The native tongue on Planet Schlock. Don’t confuse using proven selling
words with the mindless cliches in some advertising. We’ve grown up with
advertising jargon, so it’s natural to write ads that way:

The best money can buy. You’ve seen the rest, now try the best. Isn’t that amaz¬
ing? Don’t delay, call today. One call does it all. Nobody else offers this kind of
184 CHAPTER 8

quality at such a low price. Hurry, these deals won’t last forever. Unique. New
and improved. Exclusive. State-of-the-art. Incredible. More for your money.
You deserve the best. Get it now!

But wait, there’s more . . . the list goes on and on.

Read your copy out loud. If it sounds like it should be on QVC, rewrite it.
In some cases, advertising-ese includes unsubstantiated claims or boasts of
being the best without providing details to back them up. If you can’t prove it,
don’t say it, because you’ll lose all your credibility.
Advertising-ese also includes trite punctuation, especially the dreaded
exclamation point. If you have to add ! to a headline or even a line of copy, you’re
shouting that you can’t think of anything clever or memorable. For example, you
used to see phrases like:

It’s just wonderful! The all new 1965 Oldsmobile Vista Cruiser with the
new improved smooth-as-silk Strato-Glide transmission!

Bad Taste
I
This includes sexist, racist, insensitive, offensive, and vulgar language. In this age
of political correctness, people can find hidden meanings in the most innocent
messages. When you look at some of the ads from the 1930s and 1940s, it’s amaz¬
ing how African Americans were portrayed. In the 1950s and 1960s, women were
shown as mindless neat freaks, more concerned with whiter shirts than with careers.
Today, writers who would never use stereotyped racial or sexist language think
nothing of using sexual puns, vulgar language, and scatological humor. If you are
appealing to a general audience, be careful what you say and how you say it. If you
are going for an edgy concept that appeals to a very select group who won’t be
offended by your bad taste, try it, but be willing to accept the consequences.

Deadwood
This is one the most common sins committed by beginning writers. They
say the same thing several different ways, time after time, in a very redundant fash¬
ion that wastes time and space, over and over again, ad infinitum. (Get the point?)
Say what you mean. Then tighten it up. Look for ways to eliminate unnecessary
words and phrases. Don’t overstate the obvious. Don’t include a description when
a visual will work better. Your English composition teachers have stressed this since
you were in grade school, but somehow, novice writers forget it.

• Original copy: Wamco engineers have developed several new ways to help
original equipment manufacturers make products that are accepted better .
by their customers, which, in turn, makes them more profitable.

• Better: Wamco makes your products more profitable.

Generic Benefits
Also known as “weasel words,” these benefits are so vague they could apply
to almost anybody and anything. You may have attached a benefit to a feature,
but have you gone far enough? Keep asking “So what?” and you’ll eliminate
 BODY COPY 185

generic benefits. Always lead with the strongest benefit. Readers may not get to
it if you bury it at the end of the ad.

• Original copy: Our Super Life car batteries are superior to all other
batteries. That’s why they’re the best value for your dollar.

• Better: Super Life batteries are guaranteed to deliver 850 amps of cold crank¬
ing power for up to eight years. You probably won’t keep your car that long.

• Even better: Super Life: the last battery your car will ever need.

Laundry Lists
This sin usually involves grouping features without benefits and giving them
all equal value. It’s hard to find the One Thing. This is a crutch used by some
writers who don’t know much about the product so they throw every feature into
the copy and string them together with no relation to each other or connection
to a benefit. The temptation is to cram as many copy points into an ad as you
can to let the client think you know the product. For example:

This sleek power boat features a powerful fuel-injected engine, two-tone

gel coat finish, a tandem trailer, removable carpeting, lots of cup holders,
an in-dash CD player, and a 5-year warranty. Who could ask for more in
a family runabout?

While we provide many lists and “how-to” bullet points in this book, don’t
confuse our use of these features with writing body copy in your work.

Poor Grammar
You should make your copy easy to read, and sometimes that means using
the proper mechanics of English, such as when to end a sentence and when to
use commas, dashes, colons, and other punctuation. You should understand sen¬
tence structure, such as the need for a subject and a verb, and how to use prepo¬
sitions, conjunctions, and phrases. Given that, don’t feel compelled to follow
every rule of English composition. However, you don’t want readers to think you
are an illiterate slob.
Speaking of punctuation, look out for these common problems:

• As we mentioned earlier, don’t overuse the exclamation point!

• Also, don’t overuse ellipses . . . they break up the flow and usually indicate
you haven’t figured out a good transition between sentences.

• Use commas only when it’s necessary to provide a pause or improve

readability.

• Some writers (David Ogilvy included) don’t like to use a period in a

headline, even if it’s a complete sentence. Others believe a period adds
deliberate emphasis.

As long as your copy reads well, punctuation is usually a matter of personal choice.
186 CHAPTER 8

Wimpy Words
This category covers a lot of territory. Certain words rob copy of its vitality.
Writing in passive voice also weakens copy. Beginning a sentence with a prepo¬
sitional phrase or subordinate clause also dilutes the power. Some examples:

There. Usually you should never start a sentence with There.

• Bad: There are a lot of reasons why people visit their friendly Dodge
dealer. First of all there’s the large selection they have.

• Better: People visit their Dodge dealer for a lot of reasons: first, they offer
the largest selection . . .

That. The word that is overused ... try reading your copy out loud, with and
without that, and see what sounds better.

Be verbs. “To be or not to be” is great for Shakespeare but not advertising copy.
Derivatives of to be include is, are, was, were, and being.
i \

• Bad: If you have been considering purchasing a luxury sport utility, then
you are in luck.

• Better: Interested in a luxury sport utility? Lucky you.

Passive voice. Your copy should take action rather than being acted upon (even
that tip reads awkwardly). Examples:

• Bad: Why do you think Sony computers were chosen by design engineers
who have held senior positions in this industry?

• Better: Why the industry’s top design engineers picked Sony.

Lead with phrases and clauses. Get right to the point. Don’t put a phrase or
clause in its path. Also, don’t string a lot of phases together in the same sentence.
Short, simple declarative sentences work best. For example:

• Bad: After shoppingfor your family, on the way home, stop in for a cool
refreshing DQ Mister Misty.

• Better: DQ Mister Misty: a refreshing treat after a long day of shopping.

Make a copy of Table 8.1 and keep it handy when you’re writing copy. It’s
also handy when reviewing other people’s work.

WORDS OF WISDOM
Power writing
We’ve discussed what not to do. Now we’ll offer some
"Taste and style are at the
recommendations that will help make any ad read easier
heart of selling ” and communicate more effectively.
—Hal Riney7
Mix short and long sentences. Sometimes short sentences
work best, but you don’t have to make every sentence three
words. Mix up short and long sentences. Use the short
 BODY COPY 187

Table 8.1 The Seven Deadly Sins of Copywriting and How to

Correct Them
1. Advertising-ese Write the way people talk; eliminate cliches and useless
phrases; keep it conversational (read it out loud).

2. Bad taste Watch for sexist, racist, and other offensive language and
symbols. If it feels wrong, it probably is.

3. Deadwood Weed out weak, redundant, unnecessary words and phrases.

Keep the flow of thought moving.

4. Generic benefits Provide benefits in terms consumers understand.

Appeal to their lives. Lead with the strongest benefit. Is one
benefit so strong that it is the central truth or One Thing
about this product?

5. Laundry lists Don’t list features without reference to what they mean to
the consumer. Weave benefits into the ad and prioritize
them based on the consumer’s point of view.

6. Poor grammar Watch for errors in spelling, punctuation, and verb tense.
Know the rules and when to break the rules. Use fragments
if it improves readability.

7. Wimpy words Use power words, active voice, short simple sentences. If it
doesn’t feel strong, it’s not.

ones for the sales message or, if you’d like, use the long sentence for the setup and
the short one for the “punch line.”

Use simple words if you can. If you’re writing a technical brochure for orthopedic
surgeons you’re not going to talk about the “shinbone.” But in most consumer
work, simple language usually communicates best. Remember you are writing to
persuade, not to impress readers with your vocabulary. Again, we quote the ven¬
erable John Caples: “Simple words are powerful words. Even the best educated
people don’t resent simple words. But they’re the words many people understand.
Write to your barber or mechanic or elevator operator.”8 (We told you he was old.)
Caples found a simple word change had an immediate impact on response rates.

Write the way people talk Most people use contractions and speak in sentence
fragments. Try to write copy as if you’re talking to a friend. Read your copy out
loud. Does it sound like a normal person talking or an announcer from a 1960s
game show?

Match the copy style to the product tone. More sophisticated products require
more formal approaches (you’ll never see “Yo. Check out Rolls-Royce. We got
yer luxury right here!”). Copy for technical products should indicate some level
of technical competence. But for the vast majority of consumer products, an
informal, conversational style works best.

Use active verbs and positive attitude. Don’t tiptoe into a benefit. Get right to
the point. Use active voice and show excitement for the product. You can’t do
this with every sentence, but try to make an effort to activate your writing.

Be specific. “Flat-faced, bug-eyed, pig-snorting Boston terrier” conveys a

stronger image than “dog.” Rather than using “soon,” say “today.” Instead of “It’s
been stated by many physicians ...” write “Doctors say ....
188 CHAPTER 8

Use parallel construction. As with taglines and headlines, you can use parallel
construction in ad body copy. But use it judiciously and only to emphasize a
point. Otherwise, it can become annoying or something even worse—poetry.

Use alliteration, rhythm, and rhyme. These techniques

can spice up body copy. But use them carefully. You can
emphasize key points, but you don’t want your text to
"Fine writing? Do you want look like a string of slogans or a Dr. Seuss book. (So, you
do not like rhyming text today, try it and you may I say.)
masterpieces? Or do you
want to see the goddamned
Tighten it up. The old rule is if you want 100 words,
sales curve stop moving write 200. A3 ■ opposed to mo3t good thing3 in life,
down and start moving up. shorter i3 better. Find a way to 3ay thing3 in fewer words:
What do you want?” Don’t wa3tc your rcadcr’3 time. Thi3 i3 very important 30

if we eotdd-say it in two words, “write tight.”

—Rosser Reeves9

Write out loud. Read your print copy out loud. Does it
sound as good as it reads? If you need inspiration, read
1
some of the great speeches of all times—fireside chats by
\

Take a deep breath. Relax. Get comfortable. Tbu are

about to read some good news.
Recently, Honda brought its advanced Low-Emission
Vehicle (LEV) technology to everyone in America. All
fifty states. Voluntarily
It arrived in the form of the all-new 1998 Accord and
the Civic. Both offer engines which meet California’s
strict Low-Emission Vehicle standard. But now you can buy
For a change, we’d like to one not just in California, but in Michigan. Texas. Ohio.
talk about your air bags. Georgia. Wherever you live.
Both cars meet a 70-percentTower emission standard
for smog-contributing non-methane organic gases than
is required by the most stringent federal standard. With no
performance sacrifice or cost penalty.
Plus, in California and specific states throughout the
Northeast, we’re now offering our new Accord Ultra-Low
Emission Vehicle (ULEV). It’s the first auto certified by the
California Air Resources Board as a ULEV making it the
cleanest gasoline-powered production car sold in the U.S.
Ever.
That means, based on last year’s sales figures, more
than 60 percent of all new Accords and Civics, some
450,000 cars, will now be more environmentally friendly.
Historically, Honda has continually been a leader in
fuel-efficiency and low-emission technology Besause we
always think about more than the products we make.
We think about the people who use them, and the world
in which they live.
Which, in the end, helps us all breathe a little easier.

HOMDA
Thinking.
« mi 1 Vnlt ri-xh Anwwa. Ma

8.9. This is what we mean by power writing. Notice the mix of long and short sentences, the use of specific information, the
conversational style, and the smooth flow from beginning to end.
 BODY COPY 189

Putting It All on the Table and anything it can be scratched into. For years, I

Ed McCabe began his advertising career at the age of 15 had a table in a restaurant in New York. I wrote

in the mail room of McCann-Erickson and eventually some of my best ads and the body copy for them on

wrote his way into the Copywriters Hall of Fame. McCabe tablecloths. Every morning, the cloth from the night

describes his unique approach to writing body copy: before would arrive at the agency, oily with dinner
drippings and blackened with notes. We’d copy the
I work with pencils. I’ll write with someone’s lip¬ tablecloth, then send it back so they could launder
stick or eyebrow pencil. In extremis, give me a twig it fresh and white, only to be assaulted again.10
and some dirt, a stone and a sidewalk, a fingernail

Franklin Roosevelt, Winston Churchill’s messages during World War II,

Kennedy’s inaugural, Martin Luther King’s “I Have a Dream” speech, and
Ronald Reagan’s tribute to the Challenger astronauts. No matter how you feel
about politics, these speeches were powerfully written. They featured simple elo¬
quence, memorable catchphrases, and vivid imagery. Most of all, they resonated
in the hearts of listeners long after the speeches were delivered.

Checklist for Better Copy

After you’ve written what you think is your final draft, use this checklist. You
might find that you’re not done writing.

• Strong opening line (pull through): Is the first line good enough to be a
headline? It’s got to pull the reader through. Readers take the path of least
resistance—make it easy for them.

• Appeal to consumer’s POV: Why do I want to buy this product or service?

Appeal to the reader’s self-interest—what’s in it for him or her? Remember
the “So whats?” Is the style appropriate for the audience? Tell me about my
yard, not your grass seed.

• Clear central idea (the One Thing): After reading your ad, will the reader
be left with the one main idea you want to convey? Does your copy pro¬
vide mixed messages? Go back to your copy platform to check.

• Strongest sales point first: Lead with the strongest selling point. The reader
may not get to it if you bury it.

• Strong supporting information: Is the information persuasive, presented

in a logical order? Does it support the main idea?

• Easy reading: Is the message clear? Does the copy say it in as few words
as possible and as many words as necessary? Even the most intelligent
people appreciate simple language. People will read long copy if they are
interested in the subject.
190 CHAPTER 8

• Power writing: Can you use active voice rather than passive? Do you start
any sentences with “There are ... ?” Ruthlessly weed out unnecessary
words. Get rid of the deadwood. “Avoid cliches like the plague.” Strip
away the ad jargon and “me too” phrases.

• Call to action: What do you want the readers to do? Where can they
get more information? Where can they buy the product? For well-known
widely distributed consumer products a call to action may not be necessary.
But for retail it’s mandatory. For technical products and other considered
purchases, you need to establish a connection that may require several more
contacts. The ad is merely a conduit to more meaningful communication.

You’re not done yet

You’ve just written a modern masterpiece of ad copy. You’ve avoided all
the Deadly Sins. It’s passed the checklist with flying colors. So what’s next?
Honest evaluation.

I • Give it a rest. The best advice we can give any

creative person is “Write hot. Edit cold. ” In other
WORDS OF WISDOM
words, if you’re on a roll, keep going. Don’t worry
"I don't think I am a good about word count, style, or even content. Write what’s
writer, incidentally, but I do on your mind. Then put it away. Watch TV. Go jog¬
ging. Do anything but think about your ad. After a
think I am the best damn
decent interval, look at your copy. Most people think,
editor in the world. I can “Jeez, that’s awful. What was I thinking?” So start the
edit anybody well, including process again, this time with more focus and insight.
myself. So what I do is write • Adjust your work habits. Everyone has a time when
my stuff and then edit and they’re most creative. Unfortunately, it’s usually not
edit and edit until it's during the typical 9-to-5 workday. That’s why it’s
important to write hot and edit cold. When you get
reasonably passable.”
an idea, jot it down no matter where you are. If you
—David Ogilvy”
feel like writing a thousand words at 2 A.M., that’s
great. Edit as long as you can stay awake and then
e-mail it to work.

• Get help. Most good writers are excellent proofreaders—of other people’s
work. They are usually criminally sloppy when it comes to their own writ¬
ing. For proper editing, you need diligent, objective, and independent
proofreaders. Don’t rely on a computer spell-checker. Ewe may halve the
write spelling butt the wrong meaning.

• Mark it up. Whether you’re editing your own work or another writer’s,
document the problems or change them. This requires printing a hard
copy and scribbling comments just like your great grandparents did.
We’ve included a selection of editing marks in the appendix. Use these
when you’re proofing your copy.

• Read it out loud. You’ll hear about this again when we talk about radio,
but it applies to print as well. Sometimes just hearing your own words
 BODY COPY 191

8.10. Here’s another case where the copy is part of the graphic. This is a spread ad in a magazine. The features and benefits of the
car are cleverly wrapped into the eBay format, with the kicker “This is a ride ONLY."

brings awkward construction right to the fore. When it’s doesn’t sound
right, it won’t read right.

• Don’t stop. We can’t think of a single project that we couldn’t do better

the second or third time (including this book). If you have the luxury
of time, keep improving your copy. Replace weak words. Cut out the
deadwood. Say it better with fewer words. Keep polishing that copy ’til
it shines.

Who’s Who?
Charles Brower—Charles Brower, influential chairman of BBDO, one of the
leading ad agencies in the world, is noted for stating, “The good ideas are all
hammered out in agony by individuals, not spewed out by groups.”12 Brower
192 CHAPTER 8

gained less notoriety in the early 1960s by firing Ronald Reagan from his role as
spokesman for BBDO client General Electric, which helped propel Reagan into
a new career—politics.

Janet Champ—Janet Champ started her career in advertising as the 15th

employee, the receptionist, at Wieden + Kennedy. But Champ had a dream and
the talent and passion to back it up. Over her 15 years at W+K, she worked on
several accounts, including Nike, Coca-Cola, Microsoft, Neutrogena, and every
women’s brand that happened to show up. For seven years she, along with
her partner Charlotte Moore, created the influential (and, at that time, ground¬
breaking) Nike “Women’s Fitness Campaign,” receiving numerous awards and
recognition, including Cannes, One Show Best of Shows, National Addys, and
two consecutive Kelly Awards for best national print campaign (making her the
only writer in the history of the Kellys to do so). She was also recognized by
the National Women’s Law Review, the National Woman’s FFealth Board, and the
Office of the U.S. Surgeon General for the TV spot “If You Let Me Play.” She
was also named AdWeek Copywriter of the Year and has the painful distinction
of havihg been sued by the surviving Beatles for the use of their song
“Revolution” in the first TV spot she ever worked on. Since 1999 she has been
a freelance copywriter trying to do good, instead of evil.

Jim Durfee—Jim Durfee, copywriter and cofounder of the Ally & Gargano
agency, is one of the leaders of the Creative Revolution. A&G’s philosophy was
that advertising is a product, not a service. “A product,” Durfee said, “is some¬
thing that is molded, produced, thought out and set out before the person: ‘We
have made this for you, we think this will help.’ A service is hat-in-hand and
through the side door. It was a completely different attitude toward what an
agency was and what an agency made.”13

Ed McCabe—Ed McCabe has profoundly influenced the field of advertising.

For more than four decades, his ads broke new ground for such clients as Volvo
and Perdue chicken. Many of today’s most creative advertising professionals
follow his innovative teachings and examples. FFe cofounded Scali, McCabe,
Sloves, Inc. and helped build the company into the 1 Oth-largest ad agency net¬
work in the world. For 10 years after leaving Scali, McCabe, Sloves, he was CEO
of McCabe & Co. At the age of 34, he was inducted into the Copywriters FFall
of Fame, the youngest to be so honored.

Notes I

1 Quoted in Erik Clark, The Want Makers: Inside the World of Advertising (New York:
Penguin, 1988), 56.

2 Designers and Art Directors Association of the United Kingdom, The Copy Book (Hove,
UK: RotoVision, 2001), 120.

3 John Caples, Wall Street Journal ad, 1978.

Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/dusenberry

.html (accessed December 20, 2004).
 BODY COPY 193

5 Quote from James Simpson, ed., Contemporary Quotations (Binghamton, NY: Vail-Ballou,
1964), 83. Brower was president of BBDO when he made this statement in 1958.

6 Quoted in Denis Higgins, The Art of Writing Advertising: Conversations with Masters of the

Craft (Lincolnwood, IL: NTC Business Books, 1990), 93.

7 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/riney.html

(accessed December 20, 2004).

8 Caples, Wall Street Journal ad.

9 Quoted in Higgins, The Art of Writing Advertising, 118.

10 Quoted in Designers and Art Directors Association of the United Kingdom, The Copy
Book, 120.

11 Quoted in Higgins, The Art of Writing Advertising, 83.

12 Quote from the Brainy Quote Web site, http://www.brainyquote.eom/quotes/authors/c/

charles_brower.html (accessed June 27, 2005).

13 Quoted in Randall Rothenberg, “The Advertising Century,” Advertising Age, March 29,
1999, http://www.adage.com/century/Rothenberg.html (accessed June 27, 2005).
 A

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 Print

e’re using magazines and newspapers to start our section on

writing for each of the major media for various reasons. Lets
begin with magazines.

Magazines
A magazine ad is an ideal palette for applying all the creative strategies and
tactics we’ve discussed in previous chapters. Magazines also present a lot of creative
opportunities based on the variety of sizes, shapes, and multiple page combinations.
Finally, a magazine ad is a perfect size and shape for your portfolio—small enough
to fit anywhere, large enough for long copy and to make a design statement.

Why magazines?
From a creative standpoint, magazines offer many advantages. Specifically:

• Magazines are selective. Some magazines are devoted to very narrow inter¬
ests, such as water gardens or old Porsches. Many general-interest publica¬
tions print special editions based on region, occupation, or income.

• In most cases, the printing quality is much better than in any other
medium. Four-color ads really pop. And when you run inserts, the sky’s
the limit for the number of inks and varnishes.

• Magazines usually last longer than other media. Weekly, monthly, and
quarterly publications get passed around and reread. Your ads are seen
longer and more often by more people.

• Magazines can add prestige. Publications such as Architectural Digest reach

an upscale market. So if you’re selling expensive cars, jewelry, or real estate,
upscale magazines are the perfect choice.

• Many magazines offer value-added services to advertisers. For example,

many business publications have “bingo cards” in the back where a reader
can circle a number to get literature. Others offer advertisers their lists for
direct mail or market research databases.
196 CHAPTER 9

• Magazines give you a lot of design flexibility.

Whether you use a series of fractional pages, mul¬
tipage inserts, advertorials, or a series of single-page
ads, magazines give creative people and media
“We’ue always been concerned directors a lot of options.
about doing great print
• Magazines are integrated with the Internet. Most
advertising ... just think of all major magazines also have Web sites, which opens
the magazines that have been all kinds of promotional and cross-promotional
launched ... there must be a opportunities for print and online advertisers.

lot of people reading ”

Why not?
—Jay Chiat1
Here are a few reasons magazines may not be the ideal
place for your ads:

• Even though magazines have a higher pass-along rate and hang around a
little longer than other media, they still get dumped in the garbage, and
aj.1 those ads are gone for good.

• Magazines are a relatively expensive way to get information. Many people

jpst click on the online versions of their favorite publications to get
feature articles or news reports.

Magazine ,A.ds
Don’t Work.

Read a free excerpt of Seth Godin’s new-

book, Purple Cow at: www.Apurplecow.com

9.1. An unusual approach to book promotion. This small space 9.2. Although advertising has always appeared in magazines, it
(with a purple cow) grabbed a lot of readers. wasn’t until after World War I that creative concepts began to
— ~ pair dramatic graphics with intriguing headlines for specific tar¬
get audiences. This ad was written by Helen Lansdowne Resor,
considered one of the greatest copywriters of her generation.
 PRINT 197

• Even weekly magazines can’t stay current in this all-news-all-the-time

world. Closing times may be two months for some publications, so your
ad may be hopelessly out-of-date by the time it runs.

• Magazines can be very expensive for advertisers. Sure, you get the CPM
(cost per thousand) you pay for, but at $150,000 a pop in some maga¬
zines, you’d better have a killer ad.

• The more popular the publication, the more competition you have
from other ads. It’s easy to get lost in the clutter of the top-selling
consumer magazines.

Types of Magazines
Some texts on advertising list dozens of types of publications. Let’s keep it
simple by limiting the discussion to a few broad categories, starting with the
most familiar.

Consumer
Thousands of titles clog newsstands and mailboxes, ranging from AARP (the
largest-circulation magazine) to Zink (a rather obscure city lifestyle magazine).
At last count, a recent Standard Rate and Data Consumer Magazine Advertising
Source (SRDS) listed more than 3,000 publications. Rather than listing all the
hundreds of categories and special editions, let’s just say there’s a magazine for
everything and everybody. The more specialized the readership, the more
focused the advertising should be.

Business
Outside of Advertising Age and BusinessWeek, you probably can’t name too many
business publications. However, if you checked SRDS (Volumes 1 and 2) you’d
find more than 8,500 titles. Look around. Just about everything you can see,
hear, smell, or touch is covered by a trade magazine that addresses how it’s made
or sold. Business publications can be further divided into many categories. As
with any publication, a thorough understanding of the readership is the key to
creating an effective ad.

Professional journals
Magazines for professionals such as doctors, lawyers, and accountants are even
more specialized. They usually feature scholarly articles, and many are peer
reviewed to provide added legitimacy. Many allow advertising, which is focused
on readers but does not have to be as deadly serious as the editorial content.

Agricultural
Like the family farm, agricultural publications are fading from the landscape.
Most successful farmers run large, factorylike operations. The major difference
 198 CHAPTER 9

between agricultural and other businesses is that farmers are buying industrial
products with their own money (or rather the bank’s money).

In-house/specialty
Many companies build goodwill with their customers by creating specialty mag¬
azines. Most car and many boat companies use these publications to reinforce a
positive ownership experience (which is a fancy way to say they want to keep

sm cm mmmu suite*

Alpine's Thuertiaeh .says that his middle tight Ids between logs and at comers, finally becomes a home, it's a pretty
price point for u finished house is $280 the houses art* assemble?*! at the Victor. special place At least that ’s how
to $22** per square foot His summit Mont. factory, When ail is right, every ihuerbacb sees it. He la Ik* I* them
deluxe project* doubtless come In some log is numbered, and the house is dis¬ earthquake-proof, very tough against
what hitler, and manufacturers of more assembled and carted off to its final tornadoes and, believe it or not. more
basic designs can wrap you in logs for a destination. Along with the logs. Alpine fir** resistant than houses with plaster
lot less. Thuerbach has built success by send* a construction adviser to work board walls, “'f’his is a house that
sticking to his market, which likes his with (he owner s contractor fives, he says, “ft become* pari of the
houses not only for the wav they look, Large, inedlunt or small, building owners }>crsona. Inside, you get this
but also for the way they’re built with logs can take longer than conven¬ feeling of peacefulness and serenity
The forests of the American West tional construction, but w hen the house It's a house you feel part of ' (D
supporta huge logging industry, with
sometime* dubious impacts on the ami-
ronmenf, but Thuerbach doesn't turn
live i(w into logs Buying from losers
in sever I states and Canada, he can get
all the fqdgepole pine he needs from
trees that are standing dead, victims of
disease, posts or lire. "They re taken out
by helicopter and horse." Thuerbach
says of the minimally invasive harvest¬
ing methods. “They used to cost a nickel
a tree because nobody wanted t hem, bat
now they're $100, We like them because
the wood s mostly dried out, so there's
less shrinkage and cracking, which can
he a problem with green
With a design in hand, all the Jogs
can lie cut arid notched for delivery
to the construction site. But wherever
It goes up. art Alpine house will have
already been built once before, To create

LOG ON!
THE WOftU) WIDE WEB is a
wonderful resource for useful
informal km on log homes. Stan
with the hog Homes Council
( ww w,loghomes.org), a national
organization that sets standards
and other policies for Its 50 mem-
bora. From there, you can go to
manufacturer's websites to a&e
designs, order plans books or just
dream about life in a log cabin.
Here are some interesting sites:
• Gastineau lx>g Homes
(www.«mkk>ghemecomt $00-654-
0253) is one of the few that mills
its logs from oak timbers.
• Honest Abe laig Homes
(www.honestabt5.com, 800-231 -
36951 invites you to its hands-on
log construction school.
• Old-Timer Log Homes
(w w w oldtimerioghomes.com,
800*467*3006) helps customers
develop their own designs.

9.3. Fractional pages let you stretch the budget. When you can’t control the whole page it’s critical to make sure your ad doesn’t
have to fight with other ads or strong editorial images.
 PRINT 199

their hooks in customers so they keep coming back). A lot of these books allow
advertising from other companies. These publications also offer advertisers a lot
of opportunities for cross-promotion and special offers. In addition, because the
audience is so specialized, you can afford to run very targeted and thus more
powerful ads.

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9.4. If your budget dictates 9.5. Facing vertical half pages dominate the whole spread without paying for it. Notice
small-space ads, you can still be the parallel construction in the headlines and the well-connected editorial content,

creative. This little ad has a lot of

impact in more ways than one.
200 CHAPTER 9

Magazine Ad Formats
The basic unit for magazines is the page. Rates and dimensions are based on
whole pages, multiple pages, and fractional pages. Some of the variations include
the following:

• Spreads: Usually two facing pages.

• Half-page spreads: Usually a horizontal format on both sides of two fac¬

ing pages with editorial above or below the ad.

• Half-page vertical or horizontal: Usually the outside half of the page if

vertical, usually the bottom half if horizontal.

• Quarter-page or third-page fractional: Depending on the publication,

this could be in a corner or outer edge of the page.

• Island: This ad “floats” on the page surrounded by editorial.

• Advertorial: This is all advertising; however, a portion of the ad looks like

the editorial content of the particular magazine but features your message.

• Inserts: Many magazines allow inserts, which can be single page (front and
back) or multiple pages. The number of pages allowed depends on the
magazine and of course the production budget.

Market View
Independent OEMs and dealers threatened by commodity products and mass merchandising
The modern residential water under attack. Now. systems are seki is a major concern to us as well as dealer or plumbing wholesaler. Each of llelleobrand Water Conditioners systems to a designated market channel.
conditioning industry took a giant step through multiple channels, including our customers," member of the distribution chain acids remarked. “Our customers arc looking Each market benefits front a product
forward more than 42 years ago when mass merchandisers. The consumer can an increasing level of raiue to the product. for products that aren't avnaoble in other Sine designed specifically for its needs, it
Eric Manufacturing developed its buy the same control at a discount store distribution channels. Many of the also means the market channels aren't
first automatic for considerably Erie Bucks the Trend products ate ending op on mass competing wilt) tire same products.
water conditioning "Erie is the only less titan thiough a One manufacturer looked at the Building Partnerships merchandisers shelves, Erie is the only Mike dines added. We are
control to addition company that is water conditioning market and discovered advantages iri To implement its plan, Erie sought out company that is addressing the issue of positioning ourselves with a proprictaiy
to improving the addressing these Issues professorial. With the marketing system shat made the specific value-added OEMs who arc veiling cheap commodity controls nndrir rcmi-pnrprieiary product offering.
lives of millions of We’re committed to Erie. nothing but price industry groat, Erie, the company (hat willing to make a significant through muss This gives the
consumers, the ■is a differentiator, started ;i all, has made the commit¬ commitment to the independent water merchandisers. "The major issue is dealer something
water conditioning industry provided a t he consumer naturally opts for the ment to solidify the independent conditioning industry. These OEM We've made the OEM vendors’ disrespect proprietary to sell"
good life for independent original cheap choice. He never gets ro hear the business segment of the water partners have agreed to market commitment to for the channels • We re convinced
equipment manufacturers (OEMs), value-added message of quality conditioning industry. Erie asked Erie control valves according to an Eric, We recently of distribution." Erie is committed
dcatets and plumbing wholesalers. The installation, service and support that the independent dealers and OEMs to help OEM Supply Agreement. The introduced a new to an authorized
Industry grew as families grew and independent business person provides. chan a course for the future. With this agreement assures that Eric control product line that’s only available to the distribution network." commented
businesses were passed from tine As a result, these commodity products input, they developed a renewed effort valves won't be brokered as professional water denier and will be Jeff Hellenbrand. "They’re providing
generation to the nett. Independent and mass merchandising have robbed to support independent water components or sold as generic systems introducing a product only for the their products for specific market
water conditioning businesses prospered many independent business people of COfidithming professionals. to muss merchandise accounts. Eric plumbing wholesaler.’ distribution channels.”
by offering high quality products and sales, service and a reasonable profit The cornerstone of Eric’s, plan is a wants to ensure that completed systems Independent OEMs now have a
professional installation and service. Mike Clines, president of Mario structured and limited distribution sold by Authorized OEMs are sold its a Erie's Two Channel System clear choice. They can choose controls
Incorporated, an OEM, commented, system. As n component supplier. responsible manner, with a responsible Erie has identified two important market that are siso available through mass
Independence "The major issue threatening our Erie's role is to market to and support warranty and the appropriate service channels for the water conditioning merchandisers ni low prices.'.or they
business Is OEM vendors’ disrespect far the independent OEM. The principal and sales literature required to
Threatened the channels of distribution I'hc responsibility of these- OEMs » to
industry — the professional water can sell n system with an exclusive high
effectively suppeu the product line conditioning dealer and the plumbing quality control that offers added value
Ibday, the Historical, independent nature fact that commodity-type equipment wholesale complete systems to OEM. arc receptive to the Eric wholesaler,'plumber Erie Authorized to their business and their customers’
of the water conditioning industry is is so readily available at cheap priest. the next level of distribution, the advantage, left Hdtenbmnd, president OEMs agree to market their Erie-equipped businesses, id

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l£i&
oornmis

The Winning Margin

9.6. The bottom half of this spread looks like a traditional ad. The top half looks like editorial except the message is all about
the advertiser. That s why it s called an advertorial. It s a useful technique when you can’t get good cooperation from an editor to
provide a story.
 PRINT 201

Creative and
Media Teamwork
"We don't have readers
Magazines offer so many combinations that coordinating
a media schedule with creative can be a challenge. Ideally, anymore. We have thumbers,
the creative should influence the specific media buy. For browsers, window shoppers
example, a series of fractional ads followed by a spread in a through printed media. The
single issue may have more impact for a particular concept
image stops the thumber. The
than a series of three single-page ads over three different
issues. However, sometimes a media director may get the
words seduce him to stay.”
best deal on a format that doesn’t fit the creative proposal. —Marty Cooke2

Then everybody has to decide: Is the idea worth the extra

cost, or do you change the idea? Production costs also affect
the creative-media partnership. For example, an eight-page
insert may be very expensive to produce. But it could be
designed to break out into a series of single-page or spread
ads for future use to help stretch the media budget.

iPlIlt Playlists
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9.7. Apple launched their wildly successful iPod with the typical “Mac look” in a four-page insert. The images show the various

screens available.
202 CHAPTER 9

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9.7. (Continued, inside spread) . . . Today Apple sells more iPods than Macs.

Magazines and Campaigns

Magazines and campaigns seem made for each other. You
can have a campaign within a single issue with multiple
insertions. The periodic nature of magazines also fits many
campaign strategies. Since readership of various magazines
“You can entertain people in transcends demographics, it’s natural to run ads in several
print You can make print magazines to maximize impact.

emotional. And you can sell Magazines also fit well as part of an integrated mar¬
keting campaign. Here are just a few examples:
your product. Print copy
can cover all the small • Include a music or interactive CD-ROM as an
differences that add up to insert in a magazine.

a big reason for buying a • Use cross-promotion with a compatible brand to

specific brand." cosponsor a contest, sweepstakes, or special offer.

—Hal Riney3
• Run a series of short-copy ads that direct readers
to a Web site for more detailed information.

• Use tear-out mini-inserts that include coupons.

• If it will fit within a magazine, include product

samples in your insert.
 PRINT 203

9.9. Unfolded insert. Magazine size indicated in black.

9.8. Folded insert inside magazine. 9.10. A die-cut insert. The dark area represents the actual
magazine page. When pulled out, the insert reveals a larger-
than-life bottle. The other side describes a sweepstakes with
cross-promotion partner Golf Digest.

Volkswagen bus/new Mustang sports car, and Earth

Finding the Last Pair
Shoes/Nike running shoes. In the case of the shoe execu¬
of Earth Shoes on Earth:
tion, a practical problem presented itself: Where do you
Turning Perception into
find mint-condition Earth Shoes when the brand had long
Reality for Rolling Stone
been defunct? The agency was having no luck. Then, driv¬
When the creative team at Fallon McElligott Rice devel¬
ing home from the office one day, art director Nancy Rice
oped the long-running “Perception/Reality” campaign, the
was passing the University of Minnesota campus and
easy part was selling it to the client. The hard part was
happened to spot someone at a bus stop wearing a fresh¬
finding the right props. After literally designing the con¬
looking pair of the shoes. She pulled over and collared the
cept on a napkin, the agency team developed a number
guy before he could board his bus. After explaining her
of “counterculture” (perception) symbols to contrast with
mission, she learned that the fellow had a closet full of
yuppie (reality) images. Thus began a series that came
the shoes. “He must have been there for the closeout
to include such pairings as rolling papers/Post-it Notes,
sale,” says Rice. Anyway, problem solved.4
real mouse/computer mouse, psychedelically painted
204 CHAPTER 9

Where to Find the

Best Magazine Ads
The Magazine Publishers of America present the Kelly Awards for the best mag¬
azine advertising each year. Winning a Kelly is a major accomplishment, and all
the top creative shops compete.

How to win a Kelly

When asked what it takes to win a Kelly Award, Mai
MacDougall, chief creative officer of Christy MacDougall
"In the good shops, you learn
Mitchell, gave the following advice:
how to write first. And that
means print. You don't have Keep it simple. Don’t try to be crazy. Don’t try to go
thirty seconds; you don't to your computer and think you can do something
off the wall. Do something within a very narrow
have music; you don't have
strategy. The narrower the better. The strategy is
special effects; it's you and a very short sentence; the soul of the brand you’re
the reader and you have to trying to talk about. Simplicity is what’s going to
capture his or her attention, work. You cannot win a Kelly award with a compli¬
right there and then." cated message. Get to know who is really reading
that magazine. Decide whom you really want to
—HelaYne Spivak5
talk to. Narrow it down to a tiny few people. Then
you know exactly who is reading this golf magazine,
fishing magazine, fashion magazine or gardening
magazine. Make your message simple, clear and aim
it right at them.6

Here are a few of the winners of recent Kelly Awards:

9.11. Porsche Cars North America/ Carmichael Lynch, Minneapolis. (The headline reads:
“Calling it transportation is like calling sex reproduction.”)
 PRINT 205

FRUITY, YET S
i im ojiiwf flrgoNgi
a>«M

9.12. Altoids Curiously Strong Sours/Leo Burnett 9.13. Bell Sports Inc./Crispin Porter + Bogusky, Miami.
Company, Chicago.

The other major awards com¬

petitions also offer magazine cate¬
gories, often several categories.
Check out their Web sites and
awards books for the latest winners.

Newspapers
What’s black and white and read
all over? Not necessarily news¬
papers. Today they use almost as
much color as magazines. Read
all over? Not anymore. Reader-
9.14. Apple Computer/TBWA\Chiat\Day, Los Angeles (Grand Prize ship has dropped off drastically,

winner, 2004). especially in people under 35.

Still, in terms of advertising dol¬
lars spent, newspapers are second
only to television.

■
206 CHAPTER 9

Why newspapers?
From a creative standpoint, newspapers offer many advantages. Specifically,
they are:

• Local: They fill in small niches so you can pinpoint advertising in a city
or suburban area.

• Timely: Ads can be changed within hours of appearance; they can pro¬
mote short-term events.

• Widespread in their coverage (although readership is declining).

• Controlled by the readers: They can scan, skip, or plod through paper
(allows for long-copy ads).

• Well suited for co-op opportunities: National advertisers develop ads and
help pay for them.

• Specialized: They include supplements and special-interest sections

(sports, features, and so on).

• Believable: They offer news and sports first; entertainment is secondary.

• Convenient: Papers can be taken anywhere—trains, restaurants, bathrooms.

• Large size: A newspaper page offers a huge canvas for your ad. A full-page
magazine ad is only a fraction of the size of a full-page newspaper ad.

Why not?
Here are a few reasons newspapers may not be the ideal place for your ads:

• Short life span: The flip side of timeliness. Yesterday’s newspaper is, well,
yesterday’s news.

• Hasty reading: Other than Sunday morning, most people don’t take the
time to read the paper. Many people spend more time with the crossword
puzzle than with the news.

• Poor reproduction: Printing quality has improved greatly, but a color ad

in newsprint cant match the quality in a glossy magazine. Inserts let you
control quality, but they can be expensive.

Newspaper readership trends

Current trends indicate newspapers are skipping a generation. Young adults are
turning away from the news media their parents and grandparents relied on for
information about their neighborhood, city, region, and world. The trend started
30 years ago but has accelerated since the late 1990s. Newspapers have beefed up
their entertainment, gossip, and nightlife reporting. About 33% of U.S. families
led by someone age 25 to 34 bought a daily newspaper in 2001 compared with
63% in 1985, according to the Bureau of Labor Statistics. This absence of youth
has been blamed for shrinking circulation at many dailies of as much as 1% to
2% per year. The average age of a newspaper reader is 53/
 PRINT 207

Newspaper Advertising Defined

Categories
Newspapers can be categorized in a number of ways:

1. Frequency of publication: daily, weekly

2. Size of market: national, regional, local

3. Circulation: paid (general newspaper) or controlled (shopper)

4. Audience: general interest, special interest/ethnic group, trade

5. Size: broadsheet (8 columns X 300 lines) or tabloid (5 columns X 200 lines)

Types of newspaper advertising

• Display ads: For our purposes, these are the only ones worth discussing.

• Classified: Cars, real estate, employment, personals.

• Public notices: All text and all business.

9.15. Newspapers are made for black-and-white 9.16. This was part of a brightly colored campaign
ads, but they don’t have to be boring. Ballet for Target stores (it’s really purple), which shows that
lovers are going to go anyway, so why not attract newspaper ads can be as visually interesting as
some new blood? magazine ads.
208 CHAPTER 9

Newspaper ad formats
The basic unit used to be the agate line or column inch,
line = 1 / 14th inch X 1 column wide. Now the Standard
“There’s no better place for a Advertising Unit (SAU) is used for national as well as
young writer than in retail local. Rates are calculated by the column inch, which is
1 column wide X 1 inch deep, no matter how many lines
advertising. You learn the
per inch. Chicago Tribune — 8 columns wide X 310 lines
limits of aesthetics. You deep = 2,480 lines per page. Tabloids = 3 columns X 200
discover the world has no lines = 1,000 lines per page.
time for self-indulgence. You
have to write ad after ad,
and meet deadlines that
Retail Advertising
force you to be fast. And every
ad is judged on the basis About four out of every five dollars spent in newspapers
of sales—period.” goes to retail advertising. Retail is also called “local”
advertising; however, with national chains running tra¬
—Tom MdELLiGOTT8
ditional-looking retail ads in national newspapers, like
USA Today, it doesn’t seem proper to call them local.
Retail is different from other advertising in the
following ways:

• Urgent: Consumers act on it quickly (“Buy me today or you miss your

chance”). It works quickly or not at all.

• Price oriented: Most national magazines do not feature price; most retail
newspaper ads do.

• The cheaper the merchandise, the more elements in the ad: Tiffany’s does
not have 24 different items with prices in their ads like Wal-Mart.

• The store personality is very important: What is the personality—bargain

prices (Wal-Mart), service (Nordstrom), reliable (Sears), long established
(Jewel Osco), classy (Lord & Taylor)? Remember, the merchandise can be
the same at every store, so making the store image different is the key.

In Creating the Advertising Message, Jim Albright states:

One of the biggest problems for a copywriter engaged in retail advertising

is the fact that the ad runs today and tomorrow you re judged on your copy
by how many actual sales are made. This is tough stuff, as opposed to a
Pepsi campaign that may have to run a year before it’s known whether your
idea was any good.9

The biggest challenge in designing retail advertising is organizing the various

elements. You may have two, four, or a dozen different products featured in an
ad. How do you arrange them in an attractive layout that stresses the brand,
 PRINT 209

price, and store personality? When it comes to writing the copy, consider the
following guidelines:

1. Tailor the copy to the customer: Your tone should be in keeping with the
price of the products, the clientele of the store, and the types of products.

2. Be brief: Just the facts.

3. Use direct benefits if you can: Mention features if you must.

Retail buzzwords
Retail has its own special jargon. You’ve grown up with it, but you may not know
that many of these terms have special legal meanings and can be used only in
certain ways:

• Special purchase: Not normally offered for sale.

• Comparable value: Use for special purchase (a special purchase cannot

have a regular price).

• Originally priced: Retailer will discount price and not return to the orig¬
inal higher price.

• Regularly priced: Retailer has reduced the price temporarily but will
reinstate the original price.

jewelry, soaps, candy, cards,

colorful fun stuf
Stuff mom would want ti

wvw.thWstreetstwftcom
257 N. Limestone St, Lexington KY 40507
($59) 255-5301 Hours: Sm 12-6, Hon 10-6, Tyes Sat 10-9

9.17. If you don’t list specific products, 9.18. Multiple products, nicely arranged
concentrate on the store’s image. with a distinctive Bloomingdale’s look.
Check out the grid pattern.
 210 CHAPTER 9

Be careful when stating percentage discounts. Watch out for misleading

statements such as these:

• “Up to 50% or more”: It could be misleading.

• “Half price sale”: Half of what?

• “Save 50% off manufacturer’s list price”: Misleading. Can you really use
the manufacturer’s list price?

When you write a multi-item ad:

• Write a strong selling headline that expresses the commonality of the

products and/or use a subhead that groups the products.

• Write an opening copy block that sells the items as a whole and sets the
tone for the entire ad.

• Write strong selling subheads for each item.

• Write short copy blocks for each item with the main selling points for each.

• Pay attention to the graphic relationship of items—if you emphasize

everything, you emphasize nothing.

National Newspaper Ads

Most national newspaper ads are like magazine ads. However, if it’s a daily paper
you can change the message every day if necessary. For large retailers with mul¬
tiple outlets you obviously can’t list every store location, but you can convey a
store’s personality.
National newspapers are also ideal for corporate image, public service, and
open-letter advertising. In fact, national newspapers are great vehicles for any
message you want to convey quickly to a large audience.

i ou v6ur
rwi, \oi k
PR I SENT
v\i> Vot u
H I UR I

9.19. This national ad appeared in USA Today. It looks like a local

9.20. This ad, designed by a student, promoted USPS
retail ad except there is no listing of store locations. insect stamps.
 PRINT 211

from desigr IBs ffgixy shoes and the chicest from socks an® t shorts and electric
phones to j yoiBtpv'S. you want it. you got it. irons of ail the

9.21. The front part of a four-page color insert in USA Today for Target. Actual size is about 17 x 22 inches. You can’t see it here, but
10 products and prices are mentioned in the fine print at the bottom. (Did you notice the reference to “wants” and “needs ?)

National inserts
When you want the best color reproduction or really want to make a spectacu¬
lar splash, you can produce full-page (or larger) inserts. USA Today has included
some huge inserts. One for a hotel chain in Florida folded out to 20 X 48 inches.
Sometimes advertisers insert whole sections in newspapers. Many readers pull
out these inserts and keep them like brochures.

Newspapers and Campaigns

Newspaper advertising can fit: very well into an overall campaign strategy. You can
maintain continuity with other creative elements plus you have the flexibility to
make rapid adjustments. For example, you may want to use TV and magazines
to establish an image for a product but use newspapers to promote its price or
guide readers to local retail stores. Many tourism accounts show beautiful images
of their destinations in color magazine ads and run price promotions in small
black-and-white ads in the Sunday travel sections of local newspapers.
212 CHAPTER 9

Mutant steals
mm Cooper car
nJfor joy ride!

/SADDAM CHALLENGES
l ’Why
BUSH TO A DUEL J
go to war when we can
settle this like gentlemen?*

9.22. MINI continues to blur the lines between traditional media, PR, and promotion. With
their “Batboy” tabloid series, they blended newspapers (if you can call WWN one), outdoor and
guerrilla marketing, gaining far more awareness than print advertising alone could provide.

WAR STORY:

Batboy’s Joyride: How cover as outdoor, which is a totally different way to

MINI Twisted the Tabloids think of media. The people at Weekly World News
The creative team at Crispin Porter + Bogusky contin¬ were into the idea, and I wrote a cover story about
ues to twist traditional definitions of media. In their a rogue chimpanzee that steals a MINI and goes on
view, “Everything is media.” So it’s no surprise they a three-state joyride. And the Weekly World News
found a new way to use newspapers. Copywriter Bill people said, well, this is good, but we have this
Wright explains: Batboy franchise, a recurring half-human, half-bat
character, and would it be okay if he steals the MINI
Weekly World News is a supermarket tabloid, with instead of a chimpanzee. And we asked, can he still
stories about aliens and Elvis and aliens who look go on a three-state joyride? And they agreed to that.
like Elvis and such. Now, we knew that our con¬ What’s really cool is that WWN kept updating
sumer probably didn’t read it. But, we knew that the story; how Batboy and his stolen MINI were seen
almost everyone buys groceries at the supermarket here, and how he was almost captured but got away,
and when you go through the checkout line, there it and that went on for the rest of the summer. And we
is. So my partner and I had this idea to buy the front never had to pay for any of that extra publicity.
 PRINT 213

LET’S BURN THE MAPS. Let’s get lost. Let’s turn right when we should
turn left. Let’s read fewer car ads and more travel ads. Let’s not be back in ten
minutes. Let’s hold out until the next rest stop. Let's eat when hungry. Let’s drink
when thirsty. Let’s break routines, but not make a routine of it. LET’S MOTOR."

LET'S SIP, NOT GUZZLE. Let’s leave the off-road vehicles off road. Let’s
stop pretending we live in the jungle. Let’s stop intimidating each other. Let’s not
use the size of our vehicle to compensate for other shortcomings. Let’s reclaim
our garage space. Let’s be nimble. Let’s be quick. Let’s be honest. LET’S MOTORS

9.23-9.25. MINI does it again! This series of newspaper ads certainly has a family look, but it also features well-written copy and

simple but memorable designs.

 214 CHAPTER 9

Making Your Newspaper

Ads Work Better
The guidelines for writing good newspaper ads are basically the same as for other
media. But note a few special rules for retail:

• Establish a store character: A store is also a brand.

• Use a simple layout: Sometimes fine detail is lost in newsprint.

• Use a dominant element if you can.

• Let white space work for you (or negative space if your ad is in color).

• State the price or range of prices (especially for retail).

• Specify branded merchandise (especially for retail).

• Urge your readers to buy now (especially for retail).

Where to Find the

Best Newspaper Ads
The Newspaper Association of America presents the
Athena Awards for the best newspaper ads of the year.
Fortunately, the association displays the winners on its
Web site (naa.org), including work by students. You’ll also
find great newspaper ads in the Communication Arts
Advertising Annual. And don’t forget to keep checking
USA Today for spectacular inserts.

Who’s Who?
Marty Cooke—Marty Cooke has created some of the most
visually striking ads in the business. He is a strong advocate
of letting the visual do most of the heavy lifting. He stated,
“I’m not a frustrated art director. I am a misunderstood
copywriter.”10 He also likes to “play with the keyboard” by
turning words upside down, using abbreviations (“Reeboks
let U.B.U.”), and using icons as typography: “Anything to
make the words more visual.”11
JVfeS

ITS OUR BIRTHDAY Helen Lansdowne Resor—Helen Lansdowne Resor pro¬

9.26. This award-winning ad celebrates vided the creative spark in the early days of J. Walter
the birthday of the Minnesota Zoo. Note Thompson. As the first female copywriter to write and plan
the simple idea and use of white space. national advertising, she opened the door for many women
Get the point? in advertising as she was constantly creating new ways to
attract readers. She brought a womans point of view to

■■■■■■a
 PRINT 215

advertising, addressing clients’ conventions as she managed and supervised

two-thirds of the business in the JWT New York and Boston offices. She was a rev¬
olutionary inventor of a new style in advertising. Among her many achievements
is one of the greatest slogans of all time for Woodbury’s soap—“The skin you love
to touch.”

Tom McElligott—Tom McElligott and creative partner Pat Fallon started out
with a freelance business called Lunch Flour. After winning several awards, the
pair launched their own shop in 1981. They quickly recruited art director Nancy
Rice and account executive Fred Senn, and the legendary Fallon McElligott Rice
was born. Thanks to award-winning creative and rapid acquisition of blue-chip
accounts, such as US West, FMR was named Ad Agency of the Year just three
years after its founding. A short time later, Rice left and McElligott jumped ship
when Fallon sold a majority share to Scab McCable Sloves, an Ogilvy & Mather
subsidiary.

Nancy Rice—Nancy Rice was a founding partner in the fabled Fallon

McElligott Rice agency. Shortly after its founding, FMR began a meteoric rise
in creative recognition and account growth, including Agency of the Year hon¬
ors. Rice worked on such groundbreaking campaigns as Rolling Stone
(“Perception/Reality”) and Coleman. She later joined DDB Needham Chicago
as senior vice president and group creative director. Working with numerous
high-profile clients from Anheuser-Busch to General Mills, Rice’s group has gar¬
nered an extensive list of awards, including gold and silver medals in the One
Show, Clios, and Athenas. She was the first woman elected to the Advertising
Hall of Fame.

Helayne Spivak—Helayne Spivak now runs a consulting

company (HRS Consulting) and is still considered one
of the most accomplished leaders in the ad business. She
"I approach print [advertising]
has run some of the world’s top creative departments: At
as entertainment. After
Young & Rubicam, she was chief creative officer; at J.
Walter Thompson, she was worldwide creative director. all, reading should
She has won nearly every major honor the industry be entertaining”
offers, including numerous Clio Awards and the Gold
—Helayne Spivak12
Award at the Cannes Advertising Festival.

Bill Wright—Bill Wright is vice president, creative

director at Crispin Porter + Bogusky, one of the hottest
creative shops in the 2000s. Since joining CP+B in 1995 as the 37th employee,
Wright has contributed on just about every account that’s ever walked through
the agency. The list includes MINI, IKEA, Virgin Atlantic Airways, Schwinn,
Giro Helmets, Burger King, Gateway, the Golf Channel, And 1 basketball
shoes, and the “Truth” antismoking campaign. His work has been recognized
by the One Show (including the most recent Best in Show), Communication
Arts, Archive Magazine, the Clios, Cannes, Show South, the London
International Advertising Awards, the Radio Mercury Awards, and the CBS
program World’s Greatest Commercials.
216 CHAPTER 9

Notes
' Quote from the Clio Awards Web site, http://www.cliowards.com/html/wsj/chiat.html
(accessed December 20, 2004).

2 Quoted in Designers and Art Directors Association of the United Kingdom, The Copy
Book (Hove, UK: RotoVision, 2001), 26.

3 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj.riney.html

(accessed December 20, 2004).

4 See Judy Warner, “Best Spots: Hill, Holliday John Hancock,” AdWeek, November 9, 1998,
http://www.adweek.com/aw/creative/top20_20years/top20_10.jsp (accessed June 28, 2005).

5 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj.spivak.html

(accessed January 10, 2005).

6 Quoted in Advertising & PIB: Kelly Awards,” Magazine Publishers of America Web site,
http://www.magazine.org/advertising_and_pib/kelly_awards/winners_and_finalists (accessed
June 28, 2005).

This j, information comes from the Center for Interactive Advertising Web site,
http://viww.ciadvertising.org/studies/student/99_fall/theory/tseng/practitioner (accessed
June 28, 2005).

Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/

mcelligott/html (accessed December 20, 2004).

9 Jim Albright, Creating the Advertising Message {Mountain View, CA: Mayfield, 1992), 227.

10 Quoted in Designers and Art Directors Association of the United Kingdom, The Copy
Book, 26.

'1 Quoted in ibid.

Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/spivak/html

(accessed January 10, 2005).
 Out-of-Home

W e used to call this outdoor advertising. But what do you call

signs inside an airport terminal, posters in a subway station, or
three-dimensional displays in a shopping mall?
So were using the term out-of-home to cover all advertising that’s seen outside
the home but is not in the point-of-sale category. That’s not a nice, neat defini¬
tion, but bear with us. We think this will make sense by the end of the chapter.

Why Out-of-Home?
From a creative standpoint, out-of-home offers many advantages. Specifically,
out-of-home is:

• Flexible: The location, timing, structure, and dimension of the concept

give you a lot of options.

• A high-impact medium: Nothing gives you a bigger canvas.

• Exclusive: You can select a specific location.

• Economical: Low cost per impression.

• Ideal for establishing brand image and building rapid awareness.

• Ideal for promoting packaged goods.

• Effective for reinforcing existing brands.

• Effective because, in many cases, your message is always on display.

• A medium that combines selling with entertainment.

• A medium that quickly conveys a concept, so out-of-home ads look good in

your porfolio.
218 CHAPTER 10

Why Not?
• You usually can’t change the creative quickly.
• In most cases, you can’t provide detail.
• You have to tell the whole story in about five seconds or less for billboards.
• Your message may be on display 24/7, but you’re paying for off-peak times too.
• In most cases, you’re limited to certain urban areas/country roads.
• People hate the idea of billboards, because most of them are ugly and
stupid (we mean the billboards).

Posters and Bulletins

(aka Billboards)
People in the outdoor advertising business don’t talk about “billboards.” The two
main types of outdoor displays are the painted bulletin and the outdoor poster.
The difference is the way they are displayed—posters use sheets of preprinted
paper glued to backboards, and bulletins traditionally have used hand-painted
images. Today, painted bulletins have given way to Superflex vinyl-coated fabric
that gives them almost magazine-like quality. For simplicity’s sake, we’ll use the
layperson’s term billboards.
Posting companies offer a variety of sizes, usually
described in poster terms, such as 36-sheet, 30-sheet, 24-
“l’m afraid the poor old sheet, and 8-sheet. A typical 36-sheet poster is 48 feet
billboard doesn't qualify wide by 14 feet high—about a 3.5 to 1 ratio. Painted
bulletins typically have a 2.5 to 1 ratio.
as a medium at all; its
For layout purposes, all you have to know is that bill¬
medium, if any, is the boards are very wide and not very tall. So if you’re using an
scenery around it.” 814 X 11-inch sheet of paper and your design is 10 inches
wide, it should be about 4Vi inches high to have a 2.5 to 1
—Howard Goss age1
ratio. The reason we mention this here is that too many
students treat billboards like magazine ads. When you start
thinking about how they are different, it opens up a lot more creative opportunities.
Which means they are much better suited to show a hot dog than a wedding cake.
Beyond the dimensions, billboards are available in several different formats
or combinations of formats:

• Standard static boards'. Your basic poster or bulletin that fits within the
limits of the sign’s borders.

• Extensions: Part of your image violates the boundaries of the board.

• Motion boards: These can be motorized images on a static board with
sliding panels that reveal a totally different message, usually another advertiser.
• Illuminated boards. The board can be lighted for night viewing or, more
dramatically, to include neon, moving lights, and selective spot lighting.
• Three-dimensional boards: You can add dimensional objects to and around
the board, such as a car crashing through the middle, people sitting on the
top edge, or parts of the poster removed to reveal the backing framework.
 OUT-OF-HOME 219

10.1. A student designed this standard static board. 10.2. A double side-by-side extension with both sides working
_ together to convey a common message. With a brand as strong
as Coke, you don’t need a lot of copy.

10.3. This motion board literally turns back time. 10.4. Outdoor signs can be used to give directions and valuable
information, such as in this student-designed billboard.

10.5. This illuminated billboard looks like a neon sign in a bar. 10.6. As in real estate, the secret to cool outdoor advertising is
location, location, location.
 220 CHAPTER 10

10.7. A fixed location actually offers creative opportu¬ 10.8. This anti-smoking board uses a combination of three dimen¬
nities. The first board with the saggy “before” captures sions and extensions (vultures looking at a smoker). With such a
attention. When it’s replaced by the taught “after” and strong visual, you don’t need copy.
the advertiser’s name, it all makes sense.

Transit
Transit advertising also has its own special terminology. To make it simple, think
of transit as advertising that goes on the outside or inside of things that move
and at the places where you wait for things that move. Examples of transit adver¬
tising include:

• Inside and outside bus cards

• Outside bus murals

• Bus shelters and benches

• Kiosks

• Train, bus, and subway stations

• Airports

• Mobile billboards: car, truck,

and trailer ads
I

Inside bus cards

Many times these are treated like
mini-billboards, but keep in mind,
10.9. Inside bus card: Consider treating it as more than a mini¬
you have a captive audience. Bored
billboard. You can use more copy and a more detailed concept.
bus riders have a lot more than five
seconds to get the message. So your
copy can be a little longer and your
images more complex than on billboards. Typical sizes of inside transit cards are
11 X 28 inches and 11x14 inches.
m saaBBaRaunawM _
 OUT-OF-HOME 221

Transit shelters
These glass-and-metal cubes lend themselves to some very creative treatments
aimed less at the people who wait there than at the people who pass by.

10.10. Transit shelter: There’s no rule that you have to 10.11. Transit bench: Like a billboard, except people sit on it (and in
stay within the box. front of your message).

Bus panels and murals

We’ve come a long way from just slapping a flat sign on the side of a bus, even
though that’s still common. However, some of the most striking transit adver¬
tising results from full-wrap murals, which completely envelope the bus.

10.12. Here’s one way to put people in the seats. This can make 10.13. Back panels provide some creative opportunities too.

for some pretty interesting combinations, depending on who This was part of a student-designed public service campaign.

rides the bus.

 222 CHAPTER 10

Side and back panels can be very creative too. Remember that a bus is like a
moving billboard, bringing your message to people on the street and in their
cars. It has to be brief, striking, and entertaining, especially to drivers stuck
behind or next to a bus in heavy traffic.

10.14. Careerbuilder.com offers hope to high-rise office workers in tough 10.15. Mobile billboards: If you own the truck, you
economic times. can literally drive the message home.

Wall Murals
If you want a more permanent location without the dimensional restrictions of a bill¬
board, consider a wall mural or wallscape. These are usually painted on the sides of
brick buildings in large cities. Good locations are very limited, since you need a rel¬
atively tall (but not too tall) building next to an open space so people can see the
mural. Usually it’s an older building, which means it may not be in the most presti¬
gious part of town. Even with all these restrictions, there are creative opportunities.

10.16. Wall murals work well with long-running campaigns

10.17. If you look closely at this 3-D wall mural you’ll see a little
promoting brand identity, as with Sauza’s “Life is harsh” theme. slide coming out of the window.
 OUT-OF-HOME 223

Posters
Posters can be a creative persons best bet to pad a portfolio and win awards.
Technically all you have to do is print one, post it somewhere, and voilh, you’ve
produced a real-world advertisement, seen by someone other than your roommate.

10.18-10.20. Because the posting can very selective, you can do things creatively you wouldn’t dare with mainstream advertising.

"Billboards are most

effective if you can say
these two magic words: ‘Next
Exit/ If you can% they work
best as a reminder of your
other marketing ”
, , , —Jay Conrad Levinson2
10.21. In an attempt to reach a younger, urban audience, some advertisers use
“wild postings,” which look like random placement on abandoned buildings
and construction fences. Some are intentionally covered with fake graffiti.
224 CHAPTER 10

Out-of-Home and Campaigns

Out-of-home advertising is usually used as a secondary medium. Billboards and
posters are great reminders of a slogan, logo, package, or other aspect of a total
campaign. Keep the two key aspects of campaign continuity in mind when using
out-of-home. Can you extend the message by using out-of-home, and can you
repeat the theme created for out-of-home?

10.22-10.25. Repeatability in a campaign using posters. Although this was created in Mexico, the visual metaphors work all over
the world.
 OUT-OF-HOME 225

It’s Out There: How “If it’s out there, it’s in here.” Creative Director Bill

NYNEX Brought the Hamilton’s fondness for the pitch is evident—“It’s one of

Yellow Pages Outdoors the best, most interesting things I’ve worked on”—as he

Until the late 1980s, the most creative image of the remembers the evolution of the idea. ChiatYDay first cre¬

Yellow Pages involved a pair of walking fingers (“Let your ated billboards that offered rational reasons consumers

fingers do the walking”). That changed when ChiatXDay’s should prefer NYNEX’s Yellow Pages. “But people didn’t

“Human Cartoons” appeared for NYNEX. TV commercials care about them until they needed a plumber or a pizza,”

and print ads showed silly visual puns, such as uni¬ says Hamilton, now senior creative director, J. Walter

formed Marines dancing to a driving beat (“Rock Drills”) Thompson, New York. “There was no loyalty factor.”

and train conductors sitting on fancy sofas drinking tea Former NYNEX exec Susan DeFlora, now senior special¬

(“Civil Engineers”). Outdoor ads played off the TV work. ist, market communications at Bell Atlantic, said she

At the onset, images of a floppy-eared blue bunny multi¬ realized how much impact the ads were having when

plied across the streets of Manhattan for two weeks. she saw “a parking lot attendant with a blue bunny in his

Then came identical posters answering the riddle (“Hair little kiosk ... people are still talking about it.”3

Tinting”) and using the campaign’s familiar tagline,

When you are developing concepts for a campaign,

you might want to go with out-of-home first. Nothing
crystallizes a concept like a billboard. If you can commu¬
nicate that One Thing with one billboard, you’ve got
something you can build on.
"Outdoor boards are an event,
not just an ad... don’t do
Where to something that’s just ‘okay.’
A billboard’s size only
Find the Best magnifies how ‘OKAY’ your
Out-of-Home Ads idea is. Be outrageous.”
—Luke Sullivan4
Each year the Outdoor Advertising Association of
America presents its OBIE Awards to the best in out-of-
home media. The association’s Web site also features a
huge library of great outdoor ads over the years—649
examples for 2003 alone. As always, the Communication
Arts Advertising Annual shows some pretty cool stuff.
 226 CHAPTER 10

Tips and Techniques

The following recommendations are based on the collective wisdom of outdoor
advertising professionals and our personal experience. They’re not hard-and-fast
rules, but factors you should consider when you’re creating out-of-home advertising:

• Be telegraphic. The rule of thumb for billboards is nine words or fewer,

with the emphasis on fewer. Some say six words is the limit. Keep in mind
that someone driving by has about five seconds to get it.

• Think big. You’ve got an ad that can be seen from 500 feet away. The
images and the type should be huge.

• Go for a strong visual/verbal connection. Think metaphors and visual

puzzles. Many times you don’t even need copy.

• Stick with one main idea. Above all, keep it simple!

• Take advantage of location. A sign on the side or back of a bus can be dif¬
ferent from a static billboard because it’s constantly in motion. The mes¬
sage on a billboard can be very local.

• Use all caps for short headlines and uppercase!lowercase for longer heads.
Using all caps makes long copy harder to read.

• Use short words when possible. They’re easier to read and you can get more
on a billboard.

• Use bold colors, not pastels. You’re trying to attract attention. That’s why
you see so many yellows and reds in billboards. Even white space draws
attention, as long as it surrounds a bold color.

• Use few elements. Remember, keep it simple!

• Use product package instead of words. Show the Coke bottle or can, not
the words Coca-Cola.

10.26. In this example the headline shows the product and spells it out. The red background and bright yellow letters also
attract attention.
 OUT-OF-HOME 227

Eats flies.
Dates a pig.
Hollywood
star.

Pass It On.
THE FOUNDATION Ifi* A BETTER LIFE

10.27. When you use more copy, upper- and lowercase is 10.28. Metaphor, visual puzzle . . . whatever you call it, you don’t
usually easier to read than all caps. need a lot of copy to tell people you can go topless in a Beetle.

Who’s Who?
Howard Gossage—Howard Gossage influenced a generation of copywriters with
innovative and often unconventional approaches to marketing communications.
He began his copywriting career at age 36 in San Francisco. Success soon fol¬
lowed with award-winning work for Land Rover, Paul Masson wines, Rainier
Ale, Eagle shirts, and Qantas airlines.

Notes
1 Quoted in Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads
(New York: John Wiley, 1998), 82.

2 Jay Conrad Levinson, Guerilla Marketing Attack (Boston: Houghton Mifflin, 1989), 109.

3 See Judy Warner, “Best Spots: Hill, Holliday John Hancock,” AdWeek, November 9, 1998,
http://www.adweek.com/aw/creative/top20_20years/top20_10.jsp (accessed June 28, 2005).

4 Sullivan, Hey Whipple, 80.

V.
 Direct Mail

D irect response. Direct marketing. Direct mail. Direct me to a new

chapter. It’s all a little confusing. Even to experienced marketing
professionals. Everyone will give you a little different spin, but here’s
the easiest way we’ve found to figure it all out:
Direct marketing covers the whole universe of sending a message directly to
a consumer. According to the Direct Marketing Association (DMA), the three
purposes of direct marketing are to:

• Solicit a direct order

• Generate a lead

• Drive store traffic

American companies spent more than $200 billon on direct marketing in

2004—about an even split between business-to-business and consumer. This
generated sales of about $2 trillion.1
Direct response is a marketing transaction between the seller and buyer with
no intermediary (such as a retailer or distributor) involved. The information
from the seller to the potential buyer can be distributed in a number of differ¬
ent ways. For example:

• Television programming: As in home shopping programs and infomercials.

• Television commercials with toll-free phone numbers (“Operators are

standing by”).

• Interactive television commercials/programs: Click on the icon to buy

the product.

• Magazine ads with coupons, toll-free phone numbers, and Web sites pro¬
moting direct sales.

• E-mail solicitations: These can range from the sleaziest spam to respected
permission marketing programs.

• Telemarketing: A direct call from some boiler room precisely timed to

interrupt your dinner or favorite TV program.

229
230 CHAPTER 11

• Internet: Search engine marketing, whole Web sites, and advertising

on Web sites.

• Direct mail: From the advertiser to the consumer/customer.

It’s direct because the recipient of the advertising message responds directly to the
sender of that message.
Direct mail is a marketing communication tool that enables direct response
as well as other kinds of transactions. Direct mail is “simply a delivery medium,
one very effective way for sellers to interact—and transact—directly with buy¬
ers.”2 For example, a clothing catalog mailed to a consumer may prompt a visit
to a local store. Another recipient may make a direct purchase from the catalog
center. Simply put, direct mail puts the advertising message in your hands, and,
unlike other forms of print media, it has no competing messages (advertisers or
editorial) attached to it.
Table 11.1 shows some examples of how direct mail works. Note that
every one of these examples ends with an action. Direct marketing not only
invites, it also provides recipients with the means to take real, measurable, phys¬
ical action. In fact, “without a response mechanism, it’s not direct marketing—
it’s merely advertising.”3

Table 11.1 How Direct Mail Works

Purpose Ask for Process

Nonstore selling An order Send mailer -> send money -> get stuff
Retail store sale Action Send mailer -> visit store get stuff

Increase event attendance Action Send mailer buy tickets attend event
Research Information Send mailer -4 send back information

Why Direct Mail?

From a creative standpoint, direct mail offers many advantages:

• It’s specific. With good data, an advertiser can zero in on specific demo¬
graphics and lifestyles to create a more powerful message.

• Its direct to an individual—as close as you can get to one-on-one marketing.

• It can be high impact. If you correctly tap those wants and needs, you
provide something of real value to the recipient.

• Its flexible. You can use virtually anything you can mail flat or put
in a container.

• It can be localized. A mailer for a nationally advertised brand can include

the names and addresses of local retailers.

• It can generate sales where there are no stores. In other words, it generates
a direct response.
 DIRECT MAIL 231

• It can help gather information. Given the right incentives, many people
send back mail surveys.

• It can be used to encourage trials of new products. Samples and discount

coupons help launch many new products.

• It delivers instant results. You know almost immediately if your mailing is

successful, based on direct sales, phone orders, return of reply cards, or
other measurement methods.

• It can be used as part of an integrated marketing program. For example,

requests for information in a magazine ad are fulfilled by sending direct mail;
you can direct people to a Web site for more detailed and interactive messages.

Why Not?
• Your direct mail is only as good as your mailing list (garbage in, garbage out).

• People hate it: It’s unwanted, mistrusted, and, in some cases, feared.

• Companies misdirect and screen mailings: Remember, about half of all

direct marketing is for B2B.

• It’s difficult to create economical and effective direct mail that doesn’t look
like “junk mail.”

• It’s costly: The cost per thousand is very high in most cases. Elaborate
print pieces and three-dimensional mailers can be very expensive to
produce, and postage prices keep climbing.

Database Marketing
We can’t stress this enough: The value of your direct mail depends on the quality of
your mailing list. The most creative concept ever devised is no good if it goes to the
wrong person. The better the list, the more on-target your creative message will be.
The more you know, the more personal the message, and, with the possible excep¬
tion of e-mail, direct mail is the most personal form of marketing communication.
Some of the information you might need to develop your message is
listed below. The importance of these categories will vary depending on the type
of product, marketing situation, price points, buying cycle, and other variables.

• Income

• Residence

• Age
• Gender

• Marital status

• Children in household
232 CHAPTER 11

• Occupation

• Education

• Vehicles owned

• Recreational vehicles owned (boat, snowmobile, etc.)

• Recreation/leisure time choices

• Vacation choices

• Health/disabilities

• Propensity to buy

• Current or former customer status

Where to get information to build your database

You may wonder when you pick up a stack of junk mail, “How did they get my
name?” If you’re a direct mail marketer, you will never have an accurate, up-to-
date mailing list. Ever. But you can try to make it as accurate as possible so the
names on your list better match the profile of the people you want to reach.
Sources of information include the following:

• Magazine/newspaper subscriptions

• Warranty card submissions

• Web site visits

• Coupons

• Toll-free phone numbers

• Literature requests

• Show registration

• Credit card holders

• Opt-in lists

• Compiled lists and custom selects

Rather than go through the intricacies of database management, we will

assume you will employ the tips and techniques we offer below after you have
secured information about your intended direct mail recipients.

Types of Direct Mail

Several categories of direct mail formats are available. The choice depends on the
budget (production and postage), content, type of product, purchase cycle, and
response mechanism. We describe below the three main types of traditional
direct mail (TDM) plus Internet direct mail (IDM).
 DIRECT MAIL 233

11.1. Even the most brilliant of direct mailers will fail if sent to the wrong people.

Source: Illustration by Dan Augustine.

Envelope mailers (letter package)

Anything you put into an envelope applies. It may be as simple as a letter
or as elaborate as 10-piece multicomponent mailer. Keep in mind that every
component has a purpose, even the envelope itself. The basic components can
include a letter, a brochure, and a reply device, such as a prepaid reply card.
You want the outer envelope to say, “Open me.” You can do this several ways:

• Teaser copy: It could be a special offer or some twist on the message. For
example, one envelope for a Florida resort said, “Open carefully: contains
white sand, dolphins, seashells and coconut palms.”

• Blind envelopes: These are usually standard-sized envelopes that suggest

normal business or personal correspondence rather than direct mail adver¬
tising. Sometimes a stamp is used rather than a meter stamp to make it
look more like personal mail.

• Official envelopes: These look like government correspondence, a check,

or a telegram. While you might get some immediate attention with these,
you’re more likely to annoy people by deceiving them.

• Personalized copy: Sometimes this is effective; other times it may offend

people who wonder, “How do they know so much about me?”

Flat self-mailers
A self-mailer contains the mailing address on some part of the piece itself rather
than on an envelope. Some traditionalists don’t like self-mailers. They claim a
letter package will always outpull a self-mailer. A letter is more personal, while a
234 CHAPTER 11

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11.2. The anatomy of an order solicitation letter package: A lot more can be involved than a letter and an envelope. Each
component plays a key role in getting the recipient to return the reply card or pick up the phone. It’s like having a mini-campaign
in each envelope.

self-mailer shouts, I m an ad! However, a well-designed self-mailer can be cost

efficient and effective from a creative standpoint. Types of self-mailers include:

• Postcards

• Folded mailers—one fold, two folds, and multifolds

• Brochures and pamphlets

• Newsletters
 DIRECT MAIL 235

11.3. Jumbo postcards are an economical way to get your

11.4. Excedrin Migraine created this self-mailer to send to
message out. Treat them like billboards on the front and provide
people who requested more information from their Web site
more detail on the back. They’re great for campaigns or a series
and magazine ads. The multipage brochure contains a lot of
of mailers.
facts about migraine headaches. It also includes a coupon,
product sample, and business reply card.

11.5. When folded up, this self-mailer is about the size of a standard postcard. Unfolded, it reveals its selling message plus a
CD-ROM, Rolodex card, and business reply card.
236 CHAPTER 11

Dimensional mailers
Some of the most innovative (and expensive) direct mailers are three-
dimensional. Basically, they can be anything that can be mailed or shipped.
Many times the box will include a separate item, sometimes called a gadget. This
may be a sample, a premium item that might have some use, or something
totally off-the-wall that makes a selling point. The limits to 3-D mailers are
governed only by your imagination and your budget.

11.6. Three-dimensional mailers don’t have to be elaborate or expensive. For the small
cost of an imprinted plastic spoon, Dannon made a big impression.

11.7. This student-designed 3-D mailer was sent to members of Congress, urging them
to vote for anti-land mine legislation. The box contained a single small shoe formerly
worn by a child whose leg had been blown off by a land mine.
 DIRECT MAIL 237

11.8-11.9. An award-winning self-promotional 3-D mailer sent to prospective clients by an ad agency. Inside the box: a personal¬
ized letter, a brochure, and a stuffed “Adversaurus Rex” representing the agency’s nonevolving competitors.

11.10. Since the number of customers may be much 11.11. This multiple-element mailer was sent to retailers who carry the
smaller, business-to-business direct mailers can be Jensen line of audio components. Inside the box were a cover letter, prod-
very high impact. Here, the company sent prospects a uct literature, a reply card, a high-quality pen, and a new road atlas.
leather briefcase filled with product literature and a --
personalized cover letter from the company president.
238 CHAPTER 11

Internet direct mail

IDM should not be confused with ordinary e-mail. E-mail
marketing has been so abused by spammers that legitimate
"There are few things as marketers face more daunting obstacles than simply creating
certain as the effects of lumpy credible messages. Still, reputable firms have been successful,
even in the face of spam filters and increasing frustration with
mail. If there’s a mysterious
unsolicited e-mail messages. Like TDM, IDM is used to gen¬
bulge in a letter, it will get erate leads or orders. However, since IDM’s delivery system is
opened.... when it comes to different from TDM’s, the copy approach also varies. The fol¬
mail,... ‘lumpy lives.’” lowing are some tips for IDM that emphasize how it differs
from traditional direct mail creative tactics:5
—Connie O’Kane4

• The e-mail FROM line should show someone the readers

will trust. If it’s for a customer, be sure to put the com¬
pany’s name in the FROM line. For example, “FROM:
Briggs & Stratton Customer Service Department.”

• You should treat the SUBJECT line like envelope teaser copy. You have
to give the prospect some reason to open the e-mail. For example,
“SUBJECT: Try the New Update for Your Macromedia Project.”

• Your first paragraph or two should contain a mini-version of your whole

e-mail. So instead of carefully spreading out your AIDA (attention-inter¬
est-desire-action), you should try to get all these elements in early. Online
users have little patience in general, and they need to understand your
whole offer fast.

• Avoid using “hard-sell” techniques. These tend to produce poor results.

Readers on the Internet expect to see information on the benefits and how
to order, but the tone must remain helpful. If it’s too slick, your e-mail
will be trashed.

• Always remember to include a Web-based response form. Many online

users prefer to keep the entire transaction online.

• Premiums and sweepstakes work great online. You have the opportunity
online to animate your premiums in action or even make them interactive.

• Avoid the word free in the SUBJECT line. Free is too blatantly promo¬
tional a word for people to bother opening your e-mail. Besides, many
online users now employ spam filters that work to screen out messages
with free in the SUBJECT line.

• Try to make your headline different from your SUBJECT line. Your best
benefit up front usually does the trick. Injecting a news feel and some
self-interest doesn’t hurt either.

• Always include an opt-out statement! The only thing more powerful than
goodwill toward your company is ill will.

• For IDM, shorter is better. If some of your prospects require more infor¬
mation before they make purchasing decisions, include a click-through to
an expanded version of your e-mail.

• With IDM, you can use viral marketing techniques. Prospects can pass
your messages on to others they think would be interested.
 DIRECT MAIL 239

TORY:

What the Buck Were A small portion of the data and e-mail
We Thinking? The Joys and addresses we had collected for a client were from a
Pains of E-Mail Marketing promotion called “Buck Head” (a suburb of Atlanta),
Johnathan Crawford is founder and CEO of Data Dog and this was an insignificant issue until our data
Marketing, a Milwaukee-based firm that provides linking went haywire. Due to a variety of reasons,
integrated marketing programs for retailers, member we accidentally sent 50,000 e-mail messages to
organizations, and the B2B industry sector. Crawford is a people addressed with “Dear Buck Head” (instead of
25-year veteran of the advertising and marketing busi¬ Dear First Name).
ness with a background in radio, outdoor, print, and We realized this mistake approximately seven
e-marketing. Some of his client biggies have included the seconds after clicking the “send” button. Talk about
Sharper Image, Burger King, and Tyson Chicken. He told panic. Once you click send, it’s all over, done, it’s
us this story: “out the door.” If it’s wrong, you’re basically stuck
with the results. Well, 50,000 people were addressed
I was working for a Chicago firm that developed as “Buck Head,” and because that sounds very close
e-mail marketing programs for a variety of national to an expletive some of us periodically use, that had
companies. The e-mail medium was still somewhat an impact. Some people complained, others were
young and there was a lot of learning to do, but we amused. The client wasn’t amused, but we were
were ahead of the curve in many areas. One of able to quickly send out a short apology e-mail
those areas was using data to determine the making light of our mistake and explaining
content of the e-mail. how it happened.

Direct Mail and Campaigns

The two campaign dynamics of repeatability and extendibility apply beautifully
to direct mail advertising.

Repeatability with multiple mailings

Each mailing has to stand alone, but collectively several mailings may trigger
the action you desire. The following are examples of how multiple mailings can
create a greater response rate:

• Numbered series of mailers: Recipients get clues in each mailing and need
to save all the mailings in the series to claim a prize.

• Repetition of the same mailer: Assumes that recipients may miss some of
the mailings or need to be hammered repeatedly with the same message.

• Multiple format mailings: A series of flat mailers with business reply cards.
If recipients continue sending back the cards, indicating interest, they
receive a 3-D mailer with a premium.
240 CHAPTER 11

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Full time employees Huge selection

inspect all ears - we of late model, low
don't use brokers. I mileage cars.

Body panels
Professional
custom cut to your
efficient service.
specifications.

We include all the

parts you need to Fast delivery from our
finish the job. own fleet of trucks.

More than 70,000 new and used late model

DOMESTIC AND IMPORT PARTS IN STOCK.

1“8S8~236»7731
1-920-922-7731
parts W. 6642 Hwy, 23, Fond du Lac, Wl 54937

11.12 11.14. TXvo examples from a series of eight jumbo postcards promoting an auto parts company. The third sample shows the
back side with more detailed information.
 DIRECT MAIL 241

Extendibility with integration in a campaign

Direct mail can be integrated into a campaign in a number of ways. For example:

• Direct mailers with product samples and coupons encourage the recipient
to visit a retailer.

• A reader sees a magazine ad and calls for more information, and the
fulfillment house mails product literature.

• A new brand image campaign is launched with print, television, radio,

and outdoor. Direct mail is used to provide detailed product information
that can’t be conveyed in the other media.

11.15-11.16. MINI Cooper sent this mini-book to people who wanted more information on their cars.
242 CHAPTER 11

Join thousands of heroes.

As the iistfts travel from city to city; a "Local Here"

wilt be recognized ter his or her contribution to the
fight against oreast cancer. After taking The Ultimate
Drive, you'!! join your Local Hero tn signing me
Signature Vehicle - a new 7461 sedan - and pledge
your support to the fight against breast cancer.
The Signature Vehicle will be featured in events,
auto shows and BMW museums as a lasting tribute
to an those who joined the cause.

11.17-11.19. A great example of direct mail used in a promotional/PR campaign. BMW donates $1 to breast cancer research for every
test-drive mile driven. The campaign not only raises money for a good cause, it also gets people into BMW dealerships.

Tips and Techniques

The Direct Marketing Association, as well as many others, uses a process known
as AIDA to explain how direct marketing works. The acronym AIDA stands for

• Attention

• Interest

• Desire

• Action

These elements are not unlike the awareness, comprehension, conviction, and
action components of the DAGMAR model we discussed in Chapter 1. The
main point is the last: action. You don’t spend the time and effort to create direct
mail just so the recipients are aware of your brand. You want them to take
action, preferably now.
The following are some general tips for all direct mail. Below, we discuss
some special applications in more detail:

• Get attention: Some 44% of mail is never opened. If you’re using

envelopes, do something to make your recipients open them. If it’s a
self-mailer, use a strong headline to invite further action.

• Be personal: Your database has given you the information, now get to *
know the recipient. Don’t write to the masses, write to the individual—
and nothing is more individual than direct mail.

• Stimulate action: Cover all areas of the transaction. If it’s a direct sale,
provide a toll-free number, Web site, or other means to spur immediate
action. If the sale is through a retailer or dealer, get the recipient to visit
the store right away.

• Study your own mail: What do you open? What attracts your attention?
Why? Can you apply that to the mailings you create?
 DIRECT MAIL 243

• Measure it: You 11 know if your mailer worked or not by the response rate
and ultimately sales. Agree on a reasonable return objective with the client.

• Test it: If you have two or more different approaches, do a split run. Measure
the results and figure out why one pulled more response than the other.

• Dont tell every detail in the mailer: This is especially important if it doesn’t
cover the whole transaction.

• Think campaigns: Each mailer in a series should stand on its own and
work with others. Got a great idea? Can you come up with a whole series
of other great ideas?

• Use simple language and avoid advertising jargon.

• In retail-oriented mailings, repeat the name of the product or store often.

• Use captions for illustrations: People usually read picture/captions before

body copy.

The fine art of writing a cover letter

Even experienced copywriters sometimes have a hard time writing a good cover
letter as part of a direct mail campaign. A cover letter is an introduction, a sales
pitch, and a proposal for further action all in one. Cover letters are typically
one-page documents and, in most cases, have a beginning, middle, and end—
usually an introduction saying who you are and why you’re writing, followed by
a sales pitch for what you have to offer, and then a closing in which you propose
steps for further action. These three components often amount to three or four
paragraphs, but there are no ironclad rules about how to break up the informa¬
tion. Phillip Ward Burton offers some good advice for cover letter writers in
Advertising Copywriting.6 We’ve paraphrased a few of his suggestions:

Cover letter outline: 7 steps

1. Promise a benefit in the headline or first paragraph—lead with your
strongest sales point.

2. Enlarge on your most important benefit.

3. Tell the reader what he or she is going to get.

4. Back your statements with proof and endorsements (testimonials).

5. Tell the reader what’s lost if he or she doesn’t act.

6. Rephrase the benefits in your closing offer.

7. Incite action—set a time limit (“Buy now”).

Cover letter style: 7 steps

1. Start with short opening paragraph—four lines or shorter.

2. No paragraph should be longer than eight lines.

3. Vary the length of paragraphs.

244 CHAPTER 11 <

4. Use deep indents and center bullet points.

5. Close with a two- to three-line summary.

6. Don’t forget the envelope (teaser).

7. Don’t forget a follow-up letter—reinforce the message/refine your

data mining.

Using gadgets
Some creative types tend to think of gadgets as silly, undignified devices to get
attention. However, what’s important is the recipient’s reaction, not your
personal preference. If you use a silly gimmick like dice, a pocketknife, or cheap

Dear Jack: Personalize with name and other information.

1
Here’s how you can keep your Spa Ray 230 looking showroom fresh—above Promise a benefit up front.
and below the waterline.

During the boating season, you work hard to keep your Sea Ray 230 looking Enlarge on that benefit.
shipshape. But when you haul it out in the fall, you know you’re facing many
long hours of scrubbing that green slime off the bottom. It won’t come off with
a pressure washer. And don’t think about using harsh acid cleaners on your
fiberglass hull.

Here’s a better way. Vary the length of sentences and paragraphs.

New BoteBrite hull cleaner cuts through that grungy bottom grime to restore Tell the reader what he/she is going to get.
your boat’s original color and shine. Without hard scrubbing. Without abrasives.
Without dangerous acids.

Just spray BoteBrite on the bottom of the boat—wait 15 minutes—and rinse

with a garden hose. That’s all there is to it!

• BoteBrite is a unique detergent that dissolves organic stains from algae and Use deep indents and bullet points to call out key
dirty water. features/benefits.
• BoteBrite will not damage fiberglass, plastic, metal, or your driveway when
used as directed.
• BoteBrite is easy to apply and even easier to clean up.

BoteBrite has been approved by the industry’s leading manufacturers, including Back your statement with proof or testimonials.
Sea Ray. It’s safe, easy to use, and effective against tough bottom stains.

We hate to admit this boating season is coming to an end. After you pull out for Tell the reader what’s
the season, will you spend a weekend scrubbing and breathing chemical fumes? lost if he/she doesn’t act. Rephrase benefits.
Or spraying on BoteBrite and rinsing off a whole season of crud in just minutes?

For a limited time, we’re offering a Buy 2-Get 1 Free deal on BoteBrite. Just Incite action.
bring the attached coupon to any BoteBrite retailer before September 30 and
get a free 16-oz. bottle of BoteBrite when you buy two 16-oz. or larger sizes.

When it’s time to clean your boat this fall, take it easy. Use new BoteBrite for Close with a benefit summary.,
fast, safe, and effective bottom cleaning.

Figure 11.1. Sample Letter

 DIRECT MAIL 245

sunglasses gets the recipient to take action, great. Hold your nose and collect
your check. Youve done your job. If, on the other hand, your clever little give¬
away is seen as cheap, cheesy, or insulting, you’ve not only lost a potential sale,
you’ve damaged your client’s image.
Here are a few examples of gadgets that have worked to generate strong
positive responses and ultimately sales:

• A changeable mailer in which the image shifted from a camel to a water

softener control to convey the message of “the ultimate water saver.”

• A pair of sunglasses to exemplify “cool” savings from an air conditioner

company.

• An imprinted golf umbrella from a bank to demonstrate that “we’ve got

you covered.”

• A telephone inserted into a bed of live sod to make the point that “we
know your turf, give us a call.”

Groan if you must. However, the right gadget to the right customer gets atten¬
tion and may stimulate action. Once again, we paraphrase Phillip Ward Burton
for advice on using gadgets:7

• A gadget won’t sell a product that can’t be sold on its own merits.

• Be sure the gadget fits the message/audience (avoid gags).

• Don’t make a gadget more important than the product’s name.

• Don’t let your personal like/dislike influence your choice.

The best advice: Know your target audience. Will a cheap gimmick generate
a response or turn off a sale? If you have the luxury of time and budget, you
could do a split run test.

Business-to-business direct mail is different

While the goal of both is to encourage taking action, B2B and consumer direct mail
take different paths to get there, as Table 11.2 illustrates.

Testing is necessary, but

make sure you know
what you’re measuring “Testing is the kernel of direct
John Caples was one of the first to blend creativity with marketing. The truth is that
scientific evaluation of advertising copy. Direct mail was every major direct marketing
the perfect laboratory for his studies. By using split runs,
business that succeeds does
he could measure the effectiveness of headlines, body
copy, and sales promotion offers. He measured results by so largely by testing—or a run
examining the number of responses and, most important, of exceptional luck ”
sales. Today direct mail—whether it is snail mail or e-
—Drayton Bird8
mail—is still one of the most easily measured forms of
marketing communication. When you have a client who
insists on testing your direct mail concepts (and they
246 CHAPTER 11

Table 11.2 Differences between Consumer and B2B

Direct Mail
Consumer Direct Mail Business-to-Business Direct Mail

High quantities: This means you have to Low quantities: This means you may be
pinch pennies. Reducing weight to able to increase the quality and thus
lower mailing costs or eliminating an the impact of the mailing piece. Some
element could save thousands of mailings are so tightly targeted, you
dollars in a mass mailing. may only need to mail a few dozen to
get the desired return.

Lifetime value: Some consumer clients are Lead generation: This is usually the goal.
willing to give up short-term return on Typically it’s a two-step transaction, so
investment for long-term gains. So the mailer facilitates a sales call or
they are not very concerned with request for more detailed product
break-even points on their mailings if literature.
they can gain market share overall.

Break through the clutter: The main Get past the gatekeeper: Businesspeople
challenge is to get the recipient to pull get piles of “junk” too. But most
your mail piece out of the stack of companies screen the mail, so only a
“junk’ihe or she receives every day. few select pieces reach the right
people. The higher the level, the tighter
the screening.

should), make sure you help define what’s measured. That way the client can’t
come back and say, “This just didn’t work.” Also, work with the client to identify
roadblocks that may affect the success of your efforts—such as lack of stores,
poorly handled customer service, new competitive sales promotion, and other
factors over which you have no control from a creative standpoint. Your client
may have read one or more of the hundreds of books and Web sites that profess
to offer the secrets of effective direct marketing. Most offer cookbook-like for¬
mulas for success, but very few talk about brand image, synergy with other media,
integrated communication, and resonance—mainly because these factors can’t be
measured as easily as sales from a direct mail campaign.

Where to Find the

Best Direct Mail Advertising
The DMA recognizes the best direct marketing communication efforts in
several categories with the ECHO Awards. For a list of current ECHO winners,
visit the DMA Web site (the-dma.org/industryawards/echo). The other major
awards also honor direct mail, as does the Communication Arts Advertising
Annual. The John Caples International Awards also recognize the best in direct
marketing every year. Entries are received and awards are bestowed on creatives
from more than 40 countries worldwide. Check out recent winners, tips for
submitting entries, and other useful information online at caples.org.
 DIRECT MAIL 247

Who’s Who?
Drayton Bird—Drayton Bird was worldwide creative director of Ogilvy &
Mather Direct, the world s largest direct marketing agency. He went on to found
what became the United Kingdom’s largest direct marketing agency. With more
than 40 years of experience in direct marketing and advertising, Bird wrote and
published Commonsense Direct Marketing, How to Write Sales Letters That Sell,
and Marketing Insights and Outrages—all best sellers. He also writes regular
columns for marketing/advertising publications in the United Kingdom, United
States, Malaysia, India, and Europe.

John Caples—Often called the father of direct response advertising, John Caples
was one of the most influential copywriters of all time. He spent a lifetime
researching the most effective methods of advertising. His direct approach for
writing headlines cut through the clutter and grabbed the readers, pulling them
into the ad. Caples penned one of the most famous headlines ever written:
They laughed when I sat down at the piano but when I started to play!”

Notes
1 Direct Marketing Association, “Findings and Analysis from the DMA 2001-2002
Economic Impact Report” (press release), June 10, 2002, http://www.the-dma.org/cgi/
disppressrelease?article=339 (accessed June 30, 2005).

2 Walker Marketing, “You’ve Got Mail,” n.d., http://www.walkermarketingagency.com/

articles_content_frame.asp?articleID=26 (accessed June 30, 2005).

3 Ibid.

4 Connie O’Kane, “Direct Mail with Promotional Products,” Imprint (publication of

the Advertising Specialty Institute), 2002, available on Printable Promotions Web site,
http://www.printablepromotions.com/Articles/DirectMail.htm (accessed June 30, 2005).

5 This list is adapted from Aran S. Kay, “Internet Direct Mail Is Different: 14 Things
to Remember,” n.d., http://www.professionalcopy.ca/emails.html (accessed June 30, 2005).

6 Phillip Ward Burton, Advertising Copywriting (Lincolnwood, IL: NTC Business Books,
1991), 163.

7 Ibid.

8 Drayton Bird, Commonsense Direct Marketing, 3d ed. (Lincolnwood, IL: NTC Business
Books, 1994).
 4

4
?■

i*
■

1 •* ‘ •
 Radio

F irst, a little background noise ... To really understand radio, you need to
talk to your grandparents. That’s the last generation whose families gath¬
ered in their living rooms to listen to radio programs. Whether it was
Jack Benny, the Green Hornet, a fireside chat by FDR, or a Brooklyn Dodgers
game, people stopped to listen. Radio wasn’t in the background. It was the focus
of home entertainment.
Read a dozen textbooks and you’ll find nearly everyone calls radio “theater
of the mind,” a description that originated during the so-called Golden Age
of Radio. Not having visual references, people believed what they heard. Clip¬
clopping wooden blocks were hoofbeats. Paper crinkled next to the microphone
became a raging fire. Music, sound effects, and multiple voices created vivid
mental pictures. And, unlike modern radio, there was no competition. People
sought out radio and listened attentively.
Copywriters who work in radio today face many new challenges, the biggest
one being people don’t listen. You need to find a way to break out of the audio
wallpaper that radio has become. From a copywriting standpoint, radio presents
a perfect opportunity for you to flex creative muscles in totally new ways. You’re
using words, music, and sound instead of pictures. When you’re the writer/
producer, the radio commercial is your baby, and the art director can’t save your
lame idea with a great layout.

Why Radio?
For advertisers and the people who write the ads, radio offers many
unique advantages:

• It’s everywhere and it’s free. There’s nothing to buy (other than a radio) and
no effort to find programming.

• You can stimulate immediate action. And, you know if your spots
are successful.

249
250 CHAPTER 12

• It supports local retailers and national brands. You can combine national
campaign themes to support local stores.

• It features segmented markets. You can personalize your messages. Radio has
become a very personal medium, so you can tailor specific messages to
reach specific demographics.

• Radio personalities sell. Well-known voices have built-in credibility with

key listener demographics.

• It offers creative opportunities. It’s the ultimate creative challenge to create

visuals with music, voice, and sound effects.

Why Not?
• Radio is usually a background medium. Not everyone selects your station
as they do with magazines or newspapers.

• It’s hard to control listenership. While you can select station demographics,
ybu can’t be sure they’re listening.

• It can have high production costs. The expenses of talent, music, produc¬
tion studios, and residuals (the fees you pay the talent each time a spot
runs) can really add up.

• It’s not good for providing product information—you need other media
to give consumers details.

• It imposes time constraints. How much can you really say in 15, 30,
60 seconds?

• Satellite radio, one of the fastest-growing media choices, is virtually

commercial free.

12.1.

Source: Illustration by Dan Augustine.

 RADIO 251

Creative Challenges
and Opportunities
Years ago, the Radio Advertising Bureau ran an ad featuring a fish smoking a
pipe, with the headline, ‘I saw it on the radio.” Although the expression “the¬
ater of the mind has been overused (and can also be used to describe paranoid
schizophrenia), you should never forget that radio gives you advertising’s biggest
palette to create your visuals. As Jewler and Drewniany comment: “Seasoned
radio writers will remind you that radio is a visual medium, in which the audi¬
ence sees whatever the writer makes them see. The better the writer knows radio,
the more the audience will see.”1 If you can use words and sounds to make lis¬
teners “see” in their minds, just think how easy it will be
to write a TV spot where they can see with their eyes.
In most cases, the copywriter plays a big role in pro¬
duction. In smaller shops, he or she may be the sole deci¬ WORDS OF WISDOM
sion maker for production—the person who selects the
talent, music, sound effects, and production studio. As "fWeVeJ bringing] the
writer/ producer, you supervise the recording and editing audience closer into the
sessions, making sure everything matches your vision. commercial Radio is
While you certainly have input from the account exec,
wonderful as a medium
creative director, and client, most of the decisions are up
to you. To pull this off, you need a clear vision of the fin¬ for doing that. It's so
ished product. You have to communicate exactly what one-to-one. So personal ”
you need to the production engineers and talent. If it —Dick Orkin2
isn’t making sense to them, you have to listen to their
ideas to make it better. However, don’t get trapped into
production by committee.
We’ll discuss this in more detail later, but we should
mention that a copywriter needs to think of production in terms of campaigns.
The continuity factors, such as music and voice talent, should be available and
affordable if you want to repeat your commercials in a series.

Terminology and Classifications

You can categorize radio commercials in a number of ways. We’ll use the
terminology explained below, even though the terms type, style, genre, format,
and technique can be interchanged at will.

Format
Radio production has its own language and style of writing. The following
example script covers some tips for writing radio commercials.
252 CHAPTER 12

Sample Radio Script MUSIC: OUT

ANNCR: (POMPOUS ANNOUNCER VOICE) ANNCR: (STILL SHOUTING) And another

This is another bogus example to help thing-(RETURNS TO NORMAL
students write better ads. When you write VOICE)—and another thing, when a
words to be spoken, put them in lower¬ word is underlined, the announcer
case. When you write directions or add— should give it more emphasis. But
don’t underline more than one word.
SFX: (DOOR SLAMMING)
Also, when an announcer sees a
ANNCR: —sound effects, use uppercase in double dash—he knows it’s for a
parentheses. (ASIDE) By the way, dramatic pause.
you’re late. When—
STUDENT: Are you going to tell us words
STUDENT: (INTERRUPTS) What about music? are like perfectly proportioned

MUSIC: BEETHOVEN’S FIFTH SYMPHONY peach pits?

IN AND UNDER ANNCR: You’re spitting on the mike. Try to

ANNCR: (ANNOYED) As I was saying, when avoid alliterations or too many P, S,

you add music you have to indicate and K sounds.

when it comes in and out and if it goes And keep it clean. No swearing.
under the voice-over. Another—
STUDENT: Damn straight. Any other words of
STUDENT: (INTERRUPTS) No. I mean music, wisdom, Mr. Announcer Dude?
Mr. Announcer Dude.
ANNCR: Yes. Read your commercial out loud
MUSIC: BLACK SABBATH’S “PARANOID” and time it. This one is at least
IN AND UP 10 seconds too long.
ANNCR: (SHOUTING OVER MUSIC) Be STUDENT: (WHISPERS) Seventy seconds if you
careful not to mix the music too loud ask me.
or you’ll drown out the announcer.

Types of commercials by production

Radio commercials can be categorized by the way they’re produced; for example:

• Fact sheet (sometimes called “rip and read” in the radio biz): It’s nothing
more than a script read by a single announcer. Fact sheets are used a lot in
co-op advertising, where a manufacturer provides commercials to dealers
who fill in the blanks and send them to the radio stations.
 RADIO

• Live script/live production spot: They’re usually done on location, such as

at a car dealership or event. Typically a radio station personality comes on
the air from the remote location. Many times the personality will interview
a store owner and customers and interact with the studio-based disc jockey.

• Production spot: This type involves the recording and editing of one or
more of the following key elements: voice, sound effects (SFX), and
music. Sometimes production spots include a mix of a nationally pro¬
duced spot and local content. Figure 12.1 shows how this works.

Live tag (local

Prerecorded content, such
national content as dealers’ names
and locations)

Instrumental
Prerecorded music bed with Prerecorded
national content local voice-over national content
(“donut”)

Instrumental Live tag (local

Prerecorded music bed with Prerecorded content, such as
national content local voice-over national content dealers’ names
(“donut”) and locations)

Figure 12.1. Mixes of National and Local Content in Radio Spots

Styles of commercials
Most production commercials fall within four styles (or genres, or basic themes):
news, drama, comedy, and music. Certain styles work better for specific situa¬
tions, as Table 12.1 shows.

Creative techniques for radio commercials

Within a style or genre you have a lot of flexibility. Every textbook offers a little
different take on the various options. In Table 12.2, we’ve simplified it a bit and
narrowed the list down to a select few creative techniques. More important,
we list examples of their applications, so you have a better feel for the right
technique for the right creative situation.
The following examples show how you can use three of these techniques.
While the printed word can’t possibly convey all the nuances of the talent, sound
effects, and music, you can get a good idea what award-winning spots look like
on paper.
254 CHAPTER 12

Table 12.1 Commercial Styles and Their Uses

Style/Genre Situation

News Announce a sale, event, special prices, grand opening, new

product introduction

Drama Serious problem, personal conflict, dramatic situations

Comedy Humorous tone, funny situations, parody of news or drama

Music Full jingle, jingle with donut, music as the main element of
the commercial

Table 12.2 Creative Techniques and Their Applications

Technique Variations/Applications

Straight announcer Serious news style

Humorous read
Distinctive accent
Voice modification (fast or slow)

Dialogue/interview Two or more characters (slice of life)

Announcer-consumer interaction
Authority figure/consumer

Dramatization Mini-play
Reenactment
News/historical event
Outrageous situation (comedy)

Testimonial/case history First-person testimonial

Story about person’s experience
Celebrity endorsement

Music dominant Full jingle—original music

Jingle with “donut” for voice segment
Popular music
Adapted popular music—new lyrics

Combinations Any of the above so that one component is not dominant *

Dialogue/interview
This “man on the street” interview by Mai Sharpe takes a deadly topic and
makes it fun.
 RADIO 255

Example: Dialogue/Interview MAN: What does Forest Lawn mean to Detroit?

CLIENT: Forest Hills Mortuary SHARPE: What does Detroit mean to Forest Lawn?

TITLE: “Detroit” MAN: Nothing.

SHARPE: But you are excited to learn that—

SHARPE: Where are you from, by the way?
MAN: No I’m not. I’m from Detroit. I come here
MAN: Detroit Michigan.
on vacation. Why would I want to learn

SHARPE: You’re from Detroit. You’re living about mortuary services? You’re the first

here now? person out here who’s talked to me and now

you talk to me about mortuary services.
MAN: No, I’ve only been here one day.
SHARPE: You want to know about mortuary
SHARPE: Do you realize that the Forest Lawn mor¬
services. That’s why you came out to
tuaries are within your reach financially?
Los Angeles.
MAN: Forest Lawn mortuaries?
MAN: No, no, I come out to forget about death.
SHARPE: What’s wrong?
I come out here to live a litde.
MAN: What do I want to do with that?
SHARPE: Yeah, well, I can understand that being
I’m from Detroit.
from Detroit. It is exciting to know
SHARPE: You can go back to Detroit and tell all the though, that last year at Forest Lawn
people that last year at Forest Lawn, almost one-third of all the mortuary
almost one-third of all the mortuary arrangements did cost under six hundred
arrangements cost under six hundred dollars. That is exciting right?
dollars. Detroit wants to hear that.
MAN: Not to me it isn’t.
MAN: I don’t know why Detroit would want to
hear that. SHARPE: Why?

SHARPE: What else do they have to listen to? MAN: I’m from Detroit.

Dramatization
Not all commercials are funny. This one, edited from interviews and actual
location recordings, conveys the drama of the South-Central Los Angeles riots
in 1992 following the acquittal of the police officers charged in the Rodney King
beating. Sponsored by the League of Women Voters, the commercial captures
some of the chaos of the riots and two voices from the area: Tim Lee, a Korean
dry cleaner, and Otis Arnold, an African American pharmacist.
256 CHAPTER 12

Example: Dramatization DISPATCHER: (RADIO TRANSMISSION) Life

force 50. Life force 50. We need
CLIENT: League of Women Voters
help. We’ve got shots fired.
TITLE: South Central
ANNCR: Otis Arnold runs a pharmacy on
Florence Avenue.
PILOT: (RADIO TRANSMISSION FROM
ARNOLD: Most of the going businesses
HELICOPTER)—engage OCD,
here, particularly around this area,
you’ve got one, two, three, four, five, six
were destroyed.
fires burning.
ANNCR: So where do we go from here?
ANNCR: South Central Los Angeles. April
twenty-ninth, nineteen-ninety two. ARNOLD: I think basically, if we need

What was it like to really be there? change, the place to do it

is at the ballot box.
LEE: Almost all the customers’ clothes were
LEE: Registering to vote is good thing.
stolen. Broken windows.
They busted down the door. I think everyone should do it.

ANNCR: Tim Lee works at his uncle’s dry cleaners. ANNCR: Vote for peace. Vote for
change. But vote. This
LEE: It hurts. Makes me think
message was brought to you
there’s a lot of racism in this
by the League of Women
country. The main thing I think
Voters and this station.
is the misunderstanding.

Testimonial/Case History
These can be real, using actual stories with ordinary people or celebrity
talent. Or they can be spots that seem realistic but are produced for laughs, as in the
admittedly fake testimonial for Priceline online travel services on the opposite page.

Production Considerations
Production and media costs
Even though radio usually costs a lot less than television, costs can quickly get
out of control. As a writer, you should know how budget constraints will affect
your concept. As a producer, you need to know how much you can do in the
studio and when to stop fooling around and lay down some tracks. Keep in
mind the factors listed in Table 12.3, which start with the cheapest and get more
expensive as you move down. Don’t forget day-part considerations, since a drive¬
time schedule can transfer more money from production into media.
 RADIO 257

Example: Testimonial ANNCR: So George got online and went to

Priceline-dot-com, where you name your
CLIENT: Priceline
own price for airline tickets.
TITLE: “Family Crisis” GEORGE: The process was real easy, real simple—
and the service is free.
MUSIC: GUITAR IN AND UNDER
ANNCR: In just one hour, Georges offer was
GEORGE: Hi, my name is George. Uh—a little
accepted and he was on his way.
while back my sister called me up.
Priceline is perfect for families, students,
ANNCR: Another fake testimonial for seniors, any leisure travel on a budget.
Priceline-dot-com.
GEORGE: And so I flew to my sister’s and punched
GEORGE: The deal was she was fighting with her my brother-in-law in the nose and then
husband again and she was really upset, flew back home—all for less than I
so I said what I think Earl needs is a thought possible.
punch in the nose.
ANNCR: Try Priceline today. Visit Priceline-dot-
ANNCR: George had a family emergency. But he com or call one-eight hundred-Priceline.
didn’t have a lot of extra cash.
GEORGE: You know this marriage was saved with
GEORGE: Air fares were way too steep for me to Priceline.
go across the country just to punch a
guy in the nose.

Table 12.3 Factors Affecting Production and Media Costs

Music Voice Talent Sound Effects Editing Media Costs

Stock music: You may Staff announcer: Stock effects: Millions Simple digital editing: "Fire sale": Some
have to pay a fee Sometimes the of sound effects are Software is stations have holes
based on how it’s radio station will available on disc. available for most in their schedules
used, where it’s provide free talent if You either buy the home computers that force them
used, and how you pay for airtime. disc or pay for use to handle simple to offer
many times you of the effect. cut-and-paste edits. super-cheap
use it. airtime—usually at
times when
no one is listening
anyway.

Original music: Either a Nonunion talent: A * Studio effects: Created Small recording studio: Off-peak time: Just
“buy-out” for flat or negotiated from electronic or If you need to mix about anytime
unlimited exclusive fee based on how, physical items to multiple tracks with other than drive
use (usually more where, and when imitate the real moderately time is going to be
expensive) or it’s used. thing. sophisticated cheaper. People may
residuals based on effects, you’ll have their radios on
how, where, and probably need at work from 9 to 5,
when it’s used. professional but only as
equipment and/or background.
expertise.

(Continued)
258 CHAPTER 12

Table 12.3 (Continued)

Music Voice Talent Sound Effects Editing Media Costs

Popular music: You’ll Union talent: Scale is a Location sound: Take Fully equipped audio Drive time: This is the
have to pay for the published rate the recorder out in studio: For the best highest-cost time,
rights to use it. Price based on how, the field to get the recording, mixing, when people are
is negotiated based where, and when real thing. and editing, you’ll captive in their cars
on how, where, and union talent is used have to rely on going to and from
when it’s used. and may include trained audio work. Drive-time
residual and other engineers running costs can be 10
fees. Scale + is added state-of-the-art times higher than
onto standard scale boards. Tell ’em costs for other day
and also includes what you want, parts.
additional fees. then sit back and
watch the magic.
Celebrity talent: Price is
negotiated based on
a number of factors,
including how,
where, and when
it’$ used. Ultimately
the talent weighs
money vs. image.

It takes talent to cast talent

As Luke Sullivan says: “Casting is everything. In radio, the voice-over you
choose is the star, the wardrobe, the set design, everything all rolled into one.
It’s the most important decision you make during production.”3
Where to start: When you’re a beginning writer, the list of people who can
and will help you is rather limited. Let’s see: There’s you, your roommate, your
significant other, and the crazy guy who works the late
shift at the Quickie Mart. Not much of a choice, is it?
WORDS OF WISDOM Just for timing and testing purposes, any voice will do.

“Production is where But before you actually record the spot, think carefully
about talent. Perhaps you can work with other beginning
90 percent of all radio
writers who are really into broadcast—people who work
spots fail ” at the campus radio station or broadcast students. Check
—Luke Sullivan4 out your school’s drama department. Those trained
actors could be natural voice-over talents. If you’re look¬
ing for the proverbial man on the street, take your
recorder down the street and find him. The point is, don’t take the easy way out
and record your friends the night before a radio assignment is due.
In the real world, when you work for a shop that’s able to pay talent, your
possibilities open up considerably. If you’re not familiar with specific voice
talent, you can get demo CDs from talent agencies. Most voice talents are capa¬
ble of many different styles, so listen carefiilly. If you’re looking for multiple
voices, you don’t have to select them from the same agency or even have them
work face-to-face, thanks to the beauty of digital editing.
 RADIO 259

When you pick your talent, depending on the budget, you may want to
hold an audition, especially if you have to sell the client. Many voice talents will
do free auditions with your copy. You don’t even have to be there. You’ll listen
to a phone patch and they’ll send you the MP3 via e-mail. It’s a great way for
a lot of people to listen to a lot of voices. (Beware of selecting talent by
committee, though.)
Spend some time considering the voice talent. Even if you just need a straight
announcer, there are many styles. Some sound “authoritative”; others are warm and
friendly, with “a smile in their voice.” The casting of character talent is especially
critical. Be very specific about the voice tone, inflection, accent, and timing. You
might need to write casting specs to help the talent agent find the perfect voice.
Keep a file of voices you’d like to use for future commercials. However, don’t
lock yourself into the voice du jour—you know, the guy who’s suddenly doing
every commercial on the air. No matter how great you think your commercial
is, it will start to sound like all the others.

Timing is everything
Beginning writers sometimes have a hard time with the immutable time con¬
straints of radio. They write beautiful 45-second spots and can’t cut them down
to 30s. Or they pack in a lot of useless filler to stretch them to 60s.
How to make your creativity fit? One way is count the words. If you have a
60-second straight announcer commercial, you should have between 130 and
160 words. As you approach that 160-word limit, your announcer is likely to
talk faster, so the whole spot seems frantic and poorly planned. A 30-second
announcer spot should be between 60 and 75 words. The announcer will thank
you if your word count runs a little on the short side.
The best way to make your spot fit is to time it! Get a stopwatch (don’t try
to use your wristwatch) and read the commercial the way you’d like it delivered,
leaving room for music and/or sound effects that will take time. If you time out
at 60 seconds, it’s too long—because nine times out of ten, you’ll read it faster
than a professional. Try to give the announcer and producer a few precious
seconds to play with.

Is This Funny?
(Comedy in Commercials)
Few topics are less humorous than a dissertation on comedy. If you are naturally
funny, you don’t have to be told how to make people laugh. If you’re not gifted
with a funny bone, chances are no textbook can tell you how to use humor effec¬
tively. However, most people can appreciate humor in advertising, even if they
can’t deliver it. After toiling to write a funny commercial, you may find that
drama or music may be a better way to go. Or you may discover that you have
a gift. You’ll never know until you try.
So, what’s funny? Comedienne Carol Burnett said, “Comedy is tragedy plus
time.”5 Most comedic situations are about pain or the threat of pain—physical
or mental. That pain can be as obvious as dropping a piano on a person’s head
or as subtle as a mildly embarrassing situation.
260 CHAPTER 12

Rejection is one of our most powerful psychological fears. So being exposed

as stupid, uncaring, socially inept, weak, uncool, or just different can be very
painful. And even a threat of rejection brings that pain to the forefront. But it’s
only funny when it happens to someone else, and then you need some distance
in time or space to minimize the tragic effect.
The following commercial is for a local sporting goods retailer in Michigan.
This spot proves you don’t have to be a big chain with a huge production budget
to produce an award-winning commercial. It’s also a good example of using pain
as a comedic device.

Example: Pain as Comedy get snow down the crack. Oftentimes, a

victim, unable to bear the pain, will
CLIENT: Gordo’s Snowboard Store
scream out, “I’ve got snow down my
TITLE: “Snow Down the Crack” crack.” It’s so frustrating because there’s
nothing you can do. You just have to wait
it out and hope for the best. The good
MUSIC: GENTLE GUITAR INSTRUMENTAL
news is it’s completely avoidable ... by
IN AND UNDER
simply going to Gordo’s Snowboard Store
MEDIC: As a ski patrol emergency medic I’ve seen in the Maple Hill Mall in Kalamazoo.
it all. And the thing that I encounter the You can buy external high back step-in
most, year after year, is snow down the bindings for only a hundred and forty
crack. This occurs when a snow boarder nine dollars. So call Gordo at three-four-
is sitting in the snow trying to get in or nine-eighty-three-twenty-eight, and see
out of their bindings. In this position, what he can do for you this winter. And
snow easily gets in the back side of their bring an end to the senseless pain of
pants, and in a matter of seconds, they snow down the crack.

When you’re writing radio, first listen to a lot of commercials. Then, think
about what makes them funny. We did, and we found some common threads in
hundreds of funny radio commercials: *

Be outrageous. While radio is theater of the mind, it can also be theater of the
absurd. Stan Freberg was a master of using radio to turn the absurd into mem¬
orable commercials. To demonstrate the power of radio, one of his spots con¬
jured up images of draining Lake Michigan and filling it with the world’s largest
ice cream sundae. The helicopter bringing in the giant cherry was the perfect
way to top off the commercial.
 RADIO 261

Do something unexpected. Remember the “twist” in Chapter 4? That’s what

we re talking about here. You introduce a topic, sound effect, or musical cue, and
then take the listener in an unexpected direction. You can also take a seemingly
straight commercial out of the ordinary with twisted copy. The deeper you get
into it, the more it twists. Avoid the trap of giving away so much that the lis¬
tener is ahead of the twist. Sometimes the gimmick is too obvious. It’s as if you’re
saying, “Here’s the joke . . . get ready. . . here it is. . . the joke is coming . . .
and bingo, here’s the punch line you already knew.” In the following example,
you don’t know what the grunting and groaning is all about until you’re almost
at the end.

Example: Sound Effects as T\vist feed your soil Whitney Farms natural
organic fertilizer, we can promise you
CLIENT: Whitney Farms Organic Fertilizer
one thing . . .
TITLE: “Giant Tomato”
GARDENER: (GROANS COME UP) Aaaaaaaagh!

SFX: Whooooooooo!
BIRDS CHIRPING/OUTDOOR
SOUNDS
ANNCR: . . . the biggest, ripest tomatoes you’ve
ever grown.
GARDENER: (SERIES OF GRUNTS, GROANS
AS IF SHE’S LIFTING SOME¬ GARDENER: (EXHAUSTED) I give up. This
THING VERY HEAVY) Ugggh! tomato is just too big.
Oooooffiffi Aaaaaagh! (GRUNTS
CONTINUE UNDER) ANNCR: Whitney Farms natural plant
foods. Maybe you really do
ANNCR: We can’t promise you wealth. We have a green thumb. Available at
can’t promise you romance. But if you garden centers everywhere.

Use detail. The combination of sound effects, music, and voice can provide
a rich visual image. Radio can’t provide detailed information about the product
itself, but used the right way, details can make a commercial funnier and
more memorable.
262 CHAPTER 12

Example: Detail OPERATOR: For skimpy field hockey skirts,

press one. For chocolate sauce
CLIENT: Axe Deodorant body spray
bikini, press two.
TITLE: “Cherry ”

SFX: PHONE BUTTON TONE

SFX: PHONE RINGING AS HEARD OPERATOR: Choose one special feature. Press one

BY CALLER for double jointed. Press two for tongue

that can tie cherry stem into knot.
OPERATOR: (AUTOMATED ATTENDANT
SFX: PHONE BUTTON TONE
STYLE VOICE) Welcome to the Axe
deodorant body spray automated OPERATOR: You have selected—American
ordering system. To choose the woman—with Adam’s apple—
right scent of Axe, select the
SFX: MULTIPLE PHONE BUTTON
woman you wish to attract. For real
TONES
women, press one, for blow up
dolls, press two. If you are OPERATOR: Correction—you have selected
attracted to lunch meats or are American woman—wearing skimpy
calling from a rotary phone, field hockey skirts—with tongue that
please stay on the line. can tie cherry stem in knot. Your
match is Apollo. Spray Axe Apollo
SFX: PHONE BUTTON TONE
under your arms and across your
OPERATOR: You have chosen—real women. chest and soon you will—score.
For American women, press one. Enjoy the Axe effect.
For Icelandic—
ANNCR: Axe deodorant body spray. Coming
SFX: PHONE BUTTON TONE April Twenty-Fourth.

Combine extreme situations with realistic dialogue. Some of the funniest

commercials feature the most outrageous situations but use downplayed
dialogue. Some of the most annoying commercials are just the opposite. The
example on the page opposite is a rare case of three-way dialogue that works *
beautifully. The casting, timing, unscripted expressions, overlapping of lines,
and subtle sound effects combine to make an outstandingly well-produced
and funny spot. There is no way to convey this spot in print. You have to hear
it to appreciate it.

Comedic formulas
Some experts advise copywriters to avoid formulas. Others offer them as guide¬
lines. Whichever direction you take, you should at least learn how to recognize
 RADIO 263

Example: xtreme Situations MOM: Uh huh.

NEW KEVIN: Oh, look at the time, mom. I’m goin’

CLIENT: Yahoo.com
on break.
TITLE: “Substitute”
KEVIN: Break? Wait, wait. You’re paying this
guy to be me?
SFX: DOOR OPENS
MOM: Well, he is a really good Kevin.
KEVIN: Mom? Dad? I’m home. Hey, who
NEW KEVIN: Actually my name is Ron.
are you?
MOM: He always lets us know where he is.
NEW KEVIN: I’m Kevin. Who are you?
KEVIN: Hey, what happened to all
KEVIN: Mom! my trophies?

SFX: FOOTSTEPS ENTER MOM: Oh, we gave those away. They

were giving New Kevin an
MOM: Kevin! Where have you been?
inferiority complex.
KEVIN: I was in Europe, remember?
NEW KEVIN: You could tell that too?
MOM: Oh, that’s right. I love you mom.

KEVIN: Yeah—who’s this guy? MOM: Ahhh!

KEVIN: I love you, too.

MOM: Oh, we hadn’t heard from you in
so long we got a new Kevin. MOM: Yeah, yeah.

ANNCR: Let ’em know you’re still alive with

KEVIN: You replaced me?
Yahoo Mail. It’s free, easy to use and
MOM: Oh, don’t be silly. New Kevin you can access it anywhere, even
has a hairpiece. Europe, Kevin. Yahoo Mail. Do
you—Yahoo?
NEW KEVIN: You can tell?
MUSIC: Yahoo-ooooo (signature line)

some of the most commonly used comedic formulas, three of which are illus¬
trated in Figure 12.2 on page 264.
Again, think about the commercials you find funny. Then analyze them for
their structure. Chances are they will fit one of these three formulas. But keep
in mind, it’s not the formula that makes it funny, it’s the content. Don’t write a
commercial to fit a formula. Instead, consider whether using some of the tech¬
niques in the formulas would make your commercial any better. If not, forget
the formulas.
264 CHAPTER 12

Setup Solution (usually the Callback (refer to

(The problem) product) setup)

Payoff (violate intro)

Setup (introduction) Setup (validate intro)
' '• (The punch line)
:

.
Callback or sell
Running gag Running gag
message

Figure 12.2. Common Comedic Formulas

Types of comedic devices

While we’ve made the case that comedy involves pain or the threat of pain—
either physical or mental—that’s not enough to construct a humorous commer¬
cial. The following are some of the most common comedic devices used:

• Normal person in comic environment

• • Comic character

• Special powers (magic/supernatural)

• Ensemble cast—dialogue driven (tough for radio)

• Slapstick

• Satire (attack substance)

• Parody (attack style)

Comedy checklist

• Don’t lose your humanity. Relate to other people. While you may be inflict¬
ing pain on another person, get the listener to say, “Hey that could be me.”

• Does it sell the product or at least reinforce the brand name? Will people be
able to remember the company that’s risking its brand on your sense of humor?

• Are you making fun of the people who use the product or the product itself?
You can have fun with a product or brand, but you can’t make fun of it.

• Did you create a one-joke concept? Can your theme be extended through- '
out the campaign?

• Do you have the right talent to pull this off?

• Does anybody else get it besides you? If you have to explain why it’s funny,
it’s probably not.

Do you really think this is funny?

Discuss the premise of your commercial with a friend who’s totally unfamiliar
with the concept. If you have to explain why it’s funny, you’ve got problems. If
 RADIO 265

other people see the humor in your premise, read the spot. If they fall over
laughing, that’s a good sign. But you still have to sell something, even if you have
the funniest commercial ever written. Blending in a message, establishing a
brand, and still having an entertaining concept is the ultimate challenge. As
Luke Sullivan says, “Being funny isn’t enough, you must have an idea.”6
Above all, you have to be honest with yourself. If you’re not funny, face it
and move on. Most people aren’t funny, and those who are funny are probably
a little screwed up in other parts of their lives. If after all your introspection you
find that your sense of humor just doesn’t come out in your commercials, try a
new tactic.

A Word or TWo About Dialogue

Some writers forget how real people actually talk. In their effort to cram the
client’s name and as many features and benefits as they can into 60 seconds, they
turn ordinary folks into aliens from Planet Schlock. Here are the three biggest
problems with radio dialogue.

Problem: Consumers become salespeople

You’ve heard commercials where neighbors, friends, spouses, or whatever launch
into spirited and highly detailed conversations about laundry detergent, motor
oil, or feminine protection products. It usually starts with one person stating a
problem. The other person comes up with a solution with lots of reasons why
it’s so great. The first person is instantly convinced and relieved that the
problem is finally solved.

• Solution: Use the announcer for the sales pitch. Let the characters talk like
real people and let the announcer do the heavy lifting. People expect
an announcer to deliver a sales message, whether it comes at the end or
separates the dialogue.

• Solution: Use an “authority”figure. This can be a salesclerk, doctor, teacher,

or anyone who is expected to know more about the product than the con¬
sumer. While the authority may be better suited to pitch the product, you
still need to keep the conversation real.

Problem: Stilted language

Even if characters don’t become salespersons, many radio commercial conversa¬
tions sound awfully fake. In reality, people interrupt, step on each other’s lines,
slur words, say “uhh” and “umm,” and are generally pretty inarticulate.

• Solution: Write the way people talk and allow ad-libs. If you listen closely to
some of the best dialogue commercials, you’ll notice people hesitate, over¬
lap each other’s lines, use contractions and sentence fragments, and, in gen¬
eral, talk the way real people talk. To do this right, you need the right talent
and the flexibility to let them ad-lib. Give the talent the general premise and
have them improvise as they rehearse. The announcer can be as polished
and articulate as you like, but keep him or her out of the conversation.
266 CHAPTER 12

• Solution: Read it out loud. This is good advice for any radio spot, but
especially for dialogue. Read both parts yourself or have someone else read
with you. If it sounds phony, keep trying until it sounds natural.

Problem: Gaps in conversation

Slight pauses between lines ruin many dialogue commercials. In real conversa¬
tions, most people don’t wait a beat before answering a question or responding
in a conversation. Sometimes they take a dramatic pause, but more often they
start answering while the other person is finishing, so that words overlap.
Dialogue should not be a tennis match where everything happens on either one
side or the other.

• Solution: Compress. Whether you do it in the actual recording or in

editing, look for ways to close the gaps. That does not mean you want the
spot to be one breathless run-on sentence, but go for good natural flow—
in other words, the way real people talk.
\
The following spot does a good job with natural-sounding dialogue and sepa¬
rates the sales message from the conversation.

Example: Realistic Dialogue EXEC: The general gist of it is—I’m a corporate

tobacco executive and responsible for
CLIENT: Minnesota Dept, of Public Health
promotions like giving free cigarettes away
TITLE: “Classified Ad” to kids during recess in other countries—
stuff like that.

SFX: PHONE RINGS CLERK: Oh my goodness.

CLERK: Good afternoon, classified ads. EXEC: I’m sorry. I missed what you said there.

CLERK: I just—the idea of somebody giving away

EXEC: Ummm. I wanted to put an ad in
free cigarettes at recess—it almost knocked
the paper.
me off my chair.
CLERK: What would you like your ad to say?
EXEC: Yeah, so I guess you can understand why

EXEC: I want it to read—lost—tobacco I feel emptiness inside.

executives soul. CLERK: Uh-huh. So are you planning on staying

with the company?
CLERK: (PAUSE) What?
EXEC: Well, yeah, I mean, it pays really well.
EXEC: Uh. I’ve lost my soul.
ANNCR: Corporate tobacco knows that if they
CLERK: What will the rest of the ad say? Just don’t get you hooked before age 18 they
give me the general— probably never will.
 RADIO 267

Give Me a Jingle
As we discussed in Chapter 6, music can tie a whole
campaign together with one catchy jingle. Some copy¬ “The advertisers who believe in
writers hate jingles more than the people who have to lis¬
the selling power of jingles
ten to them. Luke Sullivan advises not to resort to using
a jingle.7 But as Jewler and Drewniany note: “Not every¬
never had to sell anything.”
one agrees with that. ... A catchy jingle can make a last¬ —David Ogilvy8

ing impression in our minds. For example, there’s a good

chance you can sing the lyrics to ‘Oh I wish I were an
Oscar Meyer wiener’”9 (at least if you’re over 30).
Most original music is not all that memorable, or if it is, it’s remembered for
being annoying. Maybe that’s why you hear so many recycled popular songs in
commercials today. As Bendinger notes, “One of the best ways to connect with a
target is by playing the music he or she was listening to at about the age of 14.”10
It’s all about resonance.

Tips and Techniques

• If you forget every other tip, remember this: Keep it simple. One main idea
per commercial. Preferably one main idea per campaign.

• Get to the point early and stick with it.

• Identify SFX creatively, don’t label them. For example, if you use a thun¬
derstorm effect, don’t have a character say, “Uh-oh. Looks like we’re having
a thunderstorm.” Use something like “Looks like we’re stuck inside all day.”

• Use music to evoke a place or mood. For example, mariachi music in the
background says you’re in Mexico so the announcer doesn’t have to.

• Consider using no music or SFX. Depending on the voice talent, the

power of the spoken word can be very compelling.

• Repeat the client’s name. Some people say you should do this at least three
times, more if it’s retail. We don’t have a magic formula, but if you do
repeat the brand or store name several times, make sure it flows naturally
and isn’t forced.

• Capture attention early. The first five seconds are critical, whether it’s
drama, comedy, or music.

• Use voices to create visuals. For example, an old lady with soft, kind voice
is a loving grandma. The same voice that’s harsh is a witch. Remember the
importance of casting specs.

• Try building your commercial around a sound. For example, one com¬
mercial was about putting a cat in a clothes dryer, and in the background
for the whole commercial you heard a mewing cat and a thumping dryer.

• Create extreme pictures with words. Don’t be afraid to have an outra¬

geous premise.

• Give yourself time. Try to do a 60-second spot rather than 30. You have
more time to do creative things because your announcer has more time to
make the sales pitch.
268 CHAPTER 12

• Make sure your copy is tailored to the market. A hip-hop music bed is not
going to work on a classic hits station.

• Use action verbs. Go back to Chapter 8 and review the section on power
writing. The same principles apply to radio.

• Avoid using numbers, especially long phone numbers and street addresses.
Instead, feature the Web site where all that information and more is available.

• Help your announcer. Keep the copy a little shorter and watch for hard-
to-pronounce words and awkward phrasing. Listen to the announcer if he
or she has suggestions for making it sound better.

• Don’t overdo the SFX. Just because you have a 10-disc library, you don’t
have use it all.

• Trust your audio engineer. When he or she says it’s not working, find out
why. The engineer has produced a lot more spots than you have.

• Don’t use any other brand name unless the ad is a cross-promotion. It’s
hard enough for people to remember your brand name.
| N
• Write the whole spot and read it out loud before you decide it’s not going
to work.

• Go easy on the hype. Watch out for ad jargon (advertising-ese).

Example: It’s All Bad! right for you. Plus their service is
second to none. If you need a bike you
CLIENT- Bike Barn
gotta go to the new Bike Barn.
TITLE: “Spring Bike Sale”
BOB: That sounds like a great idea, dude.
I better get over to the Bike Barn to get
MUSIC: HEAVY METAL ROCK IN AND
my new bike. Where are they?
UNDER

BOB: DIRK: Right off Highway Forty-Four in Auburn.

Hey dude. Where’d you get that
great bike? Well I got to break in this new bike.
Catch you later dude.
DIRK: Oh hi Bob. I got it at the new Bike Barn.
That great new bike shop in town. BOB: Later dude.
BOB: No way! They got a great new bike shop
MUSIC: OUT
in town?

DIRK: Way. They got lots of great bikes like ANNCR: Get your new bike at the New Bike

Trek, Schwinn, Fuji and Cannondale. Barn. Highway Forty-Four and

Eighty-Fourth Street in Auburn. Or
BOB: No way!
call Two-Oh-Two-Three-Four Five-Nine-
DIRK: Way And their friendly staff knows how
Eight-Seven-Nine or visit w-w-w-bike
to set you up with the bike that’s just
barn-dot com.
 RADIO 269

Tip for novice writers:

Don’t write like one
Radio is tough to write and even tougher to produce.
When given a radio assignment, most students and "Quick, do something good on
beginning copywriters fall into the familiarity trap. They radio before someone catches
write commercials that sound just like the ones
on and makes it as difficult as
they grew up with, plus they write them using dialogue
and situations they think are tailored to young adults.
it is everywhere else ”
See the example on page 268. That was an actual com¬ —Ed McCabe”
mercial. Only the client’s name has been changed to
prevent a lawsuit. That spot actually sounded worse
than it reads. First, there’s no hook. Nothing catches
the listener’s attention. Next, the dialogue is lame. Not
only is it entirely banal, you’ve got the characters acting like announcers. Real
people don’t talk that way. Third, in a feeble attempt to get in tune with the
audience, this commercial, written by college students for college students,
reads like some 60-year-old’s attempt to be hip. Finally, although you can’t tell
by reading it, the voices, music choice, sound quality, mixing, and all the other
production values were atrocious.

Example: A Campaign Hero SINGER: Oh!

CLIENT- Bud Light ANNCR: A single shirt that matches every pair
of pants we own and really sets off a
TITLE: “Hawaiian Shirt Pattern Designer”
white belt.

ANNCR: Bud Light presents . . . Real SINGER: Lookin’ good now.

American heroes.
ANNCR: Sure, women say they hate them. But
SINGER: Real American heroes. deep inside they’re all swooning for the
big kahuna.
ANNCR: Today we salute you, Mr. Hawaiian shirt
pattern designer. SINGERS: Ooohhh kahuna.

SINGER: Mr. Hawaiian shirt pattern designer. ANNCR: So crack open a cold Bud Light

ANNCR: You provide us with colorful lounge wear Mr. Hawaiian shirt pattern designer.

capable of hiding any stain we can dish out. Your shirts may not be made in Hawaii,
but Taiwan is an island too.
SINGER: Gettin’ sloppy.
SINGER: Mr. Hawaiian shirt pattern designer.
ANNCR: Who else can create flowered shirts that
are still so unmistakably masculine? ANNCR: Bud Light. St. Louis, Missouri.
270 CHAPTER 12

Radio and Campaigns

Radio commercials and campaigns are made for each other. Because radio can be
relatively inexpensive, you can run a lot of commercials to support the campaign
theme. Using the same music and voice talent burns that brand name into the lis¬
tener’s mind. When a concept works, it can run for years, as long as it keeps work¬
ing. The Motel 6 campaign with Tom Bodett mentioned in the War Story below
is a prime example. Another good example is Bud Light’s “Real American Heroes,”
which evolved into “Real Men of Genius.” Both have used the same basic format
for years, winning awards and reinforcing an already strong brand. In the example
on page 269, notice how many times the Bud Light name is worked into the spot
as well as the seamless interaction of announcer, singers, and music.

WAR STORY:

Seeing the Light at Motel 6 became one of the all-time great radio taglines. Here’s
In 1986, David Fowler, creative director from the Richards one from a series of spots:
Group advertising agency in Dallas, was listening to NPR
MUSIC: (MOTEL 6 THEME UNDER THROUGHOUT)
on his pickup truck radio. He chanced upon a folksy
monologue by a humorist named Tom Bodett and TOM: Hi, Tom Bodett for Motel Six. You know Blind
thought the style might work for his clients. As it turned Cave Salamanders never see the light. Course,
out, Richards Group was the agency for Motel 6, a no¬ they also end up with transparent skin and
frills motel chain that was getting lost in the clutter of dark holes instead of eyeballs—plus they’re
competitive advertising. Fowler convinced Motel 6 that kind of sticky. And you don’t want that do ya?
Bodett’s laid-back style and dry humor would work. And So c’mon and see the light, save your
did it ever! After 12 years of award-winning commercials money and your skin. Call One-Eight Hundred-
featuring Bodett, Motel 6 revenues grew 283%. In the first Four-Motel-Six, and we’ll leave the light on
series of spots, Bodett had a little extra time, so he threw for you.12
in the line “We’ll leave the light on for you,” which

Where to Find the

Best Radio Commercials
The Radio Advertising Bureau posts a great Web site (rab.com) loaded with
resources. It’s also one of the sponsors of the Radio-Mercury Awards, which
honor the radio spots of the year in several categories. Looking back at the past
several years of Mercury winners, we’ve noticed the following trends:

• Extreme situations

• Mock testimonials

• Off-color humor (to some people)

 RADIO 271

• Realistic dialogue

• Catchy music

Check out the Radio-Mercury Awards Web site (radiomercuryawards.com) and

decide for yourself.

Who’s Who?
Stan Freberg—Stan Freberg fathered “abnormal” or comic advertising in the late
1950s through the 1970s. His spoofs of Madison Avenue on his CBS radio show
convinced Howard Gossage to use Freberg’s warped sense of humor for real
commercials. His ads “that don’t take themselves so damn seriously” won awards
and sold Contadina tomato paste, Pacific Airlines, Chun King foods, Jeno’s
pizza, Sunsweet prunes, and Heinz Great American soups. Freberg established,
and exploited, advertising’s fun potential.13

Dick Orkin—Dick Orkin first broke into radio with syndicated comedy serials
such as “Chicken Man” and “The Tooth Fairy.” With his distinctive voice and
off-the-wall sense of humor, it wasn’t long before Orkin was in high demand to
write and produce comedy radio spots. Through his partnership with Bert
Bertis, Orkin won scores of awards for his radio commercials. Later, he
cofounded the famous Radio Ranch in Hollywood. In 2002, Orkin was
inducted into the NAB Radio Hall of Fame.

Notes
1 A. Jerome Jewler and Bonnie Drewniany, Creative Strategy in Advertising, 7th ed. (Belmont,
CA: Wadsworth, 2001), 158.

2 Dick Orkin, president of the Radio Ranch in Los Angeles, California, in an audio clip
(track 19) available at the Radio Marketing Bureau’s Web site page advertising the CD Radio
Renaissance, http://www.rmb.ca/asp/creative-radiorenaissance.asp (accessed July 5, 2005).

3 Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (New York: John
Wiley, 1998), 142.

4 Ibid., 145.

5 Quote from QuoteWorld Web site, http://quoteworld.org/author.php?thetext=Carol+Burnett

(accessed July 5, 2005).

6 Sullivan, Hey Whipple, 132.

7 Sullivan, Hey Whipple, 139.

8 Quoted in Jewler and Drewniany, Creative Strategy in Advertising, 168.

9 Jewler and Drewniany, Creative Strategy in Advertising, 160.

10 Bruce Bendinger, The Copy Workshop Workbook (Chicago: Copy Workshop, 2002), 279.

11 Quoted in Sullivan, Hey Whipple, 139.

12 Quoted in Jewler and Drewniany, Creative Strategy in Advertising, 172.

13 See Advertising Age's “Web Version of the 1999 Advertising Century’ Report,” 1999,
http://www.adage.com/century (accessed July 5, 2005).
 *

f
i
'

VC
 Television

hen most of us decided to become

advertising practitioners, there was one
prime reason—television. Television
offers the glamour of show business plus the impact to
make or break a brand virtually overnight. Creating a
major TV ad campaign not only lets millions of people
see your work, it may also shape pop culture for years. As
Luke Sullivan says, “Great print can make you famous.
Great TV makes you rich.”1 No other medium does a
better job of delivering those three motivators—Fame,
Fortune, and Fun.
As television matured, advertisers learned to stretch
13.1. Howdy Doody, 1954. In the early
the creative boundaries of the medium, often influenc¬
days, characters in programs often read
ing pop culture. Considered by many as the best TV
the commercials.
commercial of all time, Apple’s “1984” showed a bleak
monocolor totalitarian world (IBM computers) that was
liberated by a colorful woman with a sledgehammer
(Apple Macintosh).

273
274 CHAPTER 13

Why Television?
In addition to the above con¬
siderations, television offers other
creative advantages:

• Impact: With the exception

of the Internet, no other
medium does a better job of
combining sight and sound.

• Universal access: Almost

everyone has a TV. Most
American homes have three
or more sets. TV is the great
disseminator of pop culture.

• Huge audience: More than

140 million people watch the
13.3. With interactive TV, you can use your remote to shop Super Bowl each year. But
online, place a bet, make phone calls, download music, send an even the lowest-rated late-
e-mail,. . . and even watch television programs. night show attracts millions
of viewers.

• Segmentation (programming, time of day, cable!satellite): Specialized pro¬

gramming makes it easier to deliver highly targeted commercials.

• Integrated marketing: TV is ideal to promote a promotional campaign.

It’s perfect for cross-promotion. With advancing technology, TV and the
Internet are becoming a seamless entertainment and information medium.

Why Not?
• Time limits: Except for some cable channels and infomercials, you are
limited to 10-, 15-, 30-, 60-, and 120-second messages. While it’s easier to
show and tell on TV than on radio, you still have to make every second count.

• High cost: Some Web sites offer cheap TV commercial production for as low
as $1,299 a spot, but according to the American Association of Advertising
Agencies (AAAA), the average production cost is more than $330,000, with *
director’s fees alone averaging more than $21,000.2 And the cost of airtime
has started another upward spiral after a couple of flat years.

• TV commercials are the most intrusive form of advertising: Everyone says

they hate commercial interruptions. It’s when people go to the bathroom,
get a snack, or just groan about “another stupid commercial.”

• Technology might stifle creativity: Some people spend a lot of money on

TiVo just to avoid commercials. If an advertiser insists on per-inquiry TV
to increase efficiency, chances are the spot will be very hard sell, with lots
of phone numbers and Web site titles in it.
 TELEVISION 275

Creative Challenges and

Opportunities for Beginning Writers
A storyboard is not a rough layout. It’s much more difficult to convey your idea
for a TV commercial than it is for print. A storyboard or script is only a very rough
approximation of the finished spot. A storyboard “is only a map of the TV spot.
It simply refers to it, the way a map of Colorado refers to the state itself.”3

You don’t have the equipment or talent. While production of video programs
has been made much easier, most students and novice writers still don’t have the
facilities to produce good-quality commercials. The same scarcity of professional
talent we described in the radio chapter makes TV production doubly difficult
for beginners.

You don’t have the experience. The production of good TV requires knowledge
of the medium, including what’s possible for a given budget as well as experience
of what works and what doesn’t. Very few beginning writers have that knowledge
and experience.

You watch TV without really seeing it. Young people write what they know. And
they know TV better than any other advertising. George Felton cites research that
shows a 20-year-old in the United States has already seen 800,000 TV commer¬
cials.4 Why is that a problem? Because most beginning writers fall back on the
tried-and-true commercial concepts they grew up with. As with radio, they tend
to make the actors into pitchmen, use forced advertising jargon, create unrealis¬
tic situations, and in general don’t break out of the established commercial molds.

It won’t fit in your book. TV does not work very well in most portfolios.
Usually, your best TV spot is worse than the weakest print ad. Besides, most
portfolios are better suited for flat print work, not broadcast. Even scripts and
storyboards interrupt the visual flow of most books.

How to solve those special problems

Concepting. Really study the commercials you see. What makes them funny?
Why do you remember them? Then analyze them—how do they handle transi¬
tions between scenes, camera angles, lighting, sound effects, music, titles—
everything that makes a commercial great? The rest of this chapter offers some
ways you can analyze commercials and, we hope, use that information to create
your own great commercials.
You may have to limit your concepts to spots you can shoot and produce.
You probably can’t visit or even simulate some exotic location, indoor shoots
present problems without proper lighting, you’re not going to have blue-screen
or other computer-generated effects, and you’re not going to get a movie star for
your spot. Be realistic about what you can accomplish if you’re planning to actu¬
ally produce the spot.

Conveying your concept. Computers can help you produce professional¬

looking print ads. They can also help you put together a good-looking story¬
board. Stock photos and scanned images work well in storyboards. If you’re
276 CHAPTER 13

showing a progression of scenes using the same characters, you’ll probably need
to shoot your own still photography. Whether you use photos or marker ren¬
derings (hand-drawn art), make sure your storyboard captures the key frames to
convey the concept of the commercial.

Talent. You can solve the problem of finding talent the same way as with radio. If
you just need bodies, it’s pretty easy. If you need someone who can really act, you
might want to work with theater students or someone with professional experience.

Postproduction. Since the advent of camcorders, shooting a commercial has not

been the problem. The trick has been editing. Now with iMovies, Premiere, and
other video editing software, it’s easier than ever to make your own commercials.
It still takes time, talent, and experience to know how to do it right. Make sure
you have the patience to review every frame of your commercial for days until
you get it right. The temptation is to say, “It’s good enough!” but it usually never
is. Also keep in mind, even the slickest production can’t save a weak concept.

Showing it. If you have a great TV commercial, you can import it into a
PowerPoint or Flash program. You can also mix in your print and radio samples
to make a multimedia portfolio. If you don’t have produced spots, you can put
storyboards in your book, but they have to be as good as your print work.

Technology and Trends

That Affect the Creative Process
New technology is changing TV as we know it. Some of these technological
advances will also change the way you will develop commercials. The following
are some of the current trends.

Interactive TV (ITV). The lines between computers and television continue to

blur. Some folks say interactive television will make it all commercially viable.
With ITV, when a little i pops up during a commercial, a viewer has the option
to accept or decline a special offer, such as a coupon or merchandise incentive.
“You can play along with game shows, vote in live polls, learn trivia tidbits, get
game stats and purchase items just by pushing a button on your remote control.”5
With interactive TV, a subscriber clicks on a banner ad that reveals a full-screen,
full-motion commercial for the advertiser’s product and is then taken to that
company’s Web site. Advertisers submit their current banner ads and TV com¬
mercials, and the interactive network converts their materials to the advertising *
product. Some current click-to-video advertisers are Ford, Maytag, Flewlett-
Packard, and Volvo Cars of North America.6

Digital video recorders (DVRs). With a DVR and a service like TiVo, you can
record a program on a hard drive rather than analog tape. According to TiVo, you
can find and record by title, actor, team, or keyword. You can also control live TV
by pausing, rewinding, and using the slo-mo and instant replay features. TiVo
makes it much easier to skip over the boring parts of programs, like the ads. In
fact, some TiVo subscribers use the service mainly to screen out commercials.
 TELEVISION 111

Per-inquiry TV (PITV). With a PITV campaign, the client only pays for the
inquiries it receives. PITV firms pay TV stations to produce a direct response for
an advertised product or service. Instead of paying the media’s airtime costs, the
firm prepays for a specified number of inquiries that the media agrees to gener¬
ate. PITV commercials are specifically tailored for the clients’ brands, products,
and services while they also encourage viewers to call a toll-free number or visit
a Web site for additional information. In most cases, PITV works better for
stimulating immediate demand than for building brand image over time.

High-definition TV (HDTV). Promised for years, broadcast HDTV has

become a reality in most markets, delivering up to five times the resolution of
traditional TV. We won’t get into technical issues such as numbers of pixels,
compression, and bandwidth, but from a creative standpoint, you should know
the screen size is wider and narrower than traditional TV, which may affect your
concept. Also, since the detail approximates what’s achievable in 35mm film,
viewers will see every tiny detail in your commercial. If you’re using an aging
actor or actress, you might need better makeup people.

Television Commercial
Directions and Terms
Terms you’ll need to know (for more, see the appendix):

Angle shot A camera shot taken from any position except straight on.

Crawl Graphics (usually copy) move slowly across the screen.

CU (close-up) A camera shot that shows the actor’s head and shoulders.

Cut An instantaneous transition from one scene to another.

Dissolve A fade-in of a new scene over the fade-out of a previous one.

Dolly (in or out) A slow frame change accomplished by moving the

camera forward or backward.

DP (director of photography) The person in charge of the shoot.

ECU (extreme close-up) Shows the actor’s face or specific features such as
hands. Can also be used to show a package or product feature.

Follow shot The camera follows the movement of the subject without
moving itself.

Full shot The actors and entire background are all in the scene. Also called
a wide shot or cover shot.

Grip The person who does most of the grunt work on a commercial shoot.

In The point at which a sound effect or musical segment is inserted. The

effect stays “in” unless otherwise directed.

In and under The effect or music is introduced and layered under other
sound effects or voices.
278 CHAPTER 13

Jump cut A cut to the same scene without a change of angle or framing.

MCU (medium close-up) The actor is shown from the waist up.

Mortise Placing another image in part of the frame. Also called

frame-in-frame.

MS (medium shot) The actor’s whole body is in the frame.

OC (on-camera) The person on-camera is speaking. Also called SYNC.

Open The opening scene of the commercial. The first thing a viewer sees.

Out The point at which a sound effect or musical segment is deleted.

Pan (left or right) The camera moves from a set position along a horizon¬
tal arc.

Pan with The camera moves at the same speed as a moving person or
object so the person or object stays in the center of the frame as it moves.

Scroll Graphics or titles move up the screen.

SFX Sound effects.

Slo-mo Slow motion.

Still Photograph or nonanimated art. Also referred to as a slide.

Super Graphics or titles are superimposed over the background images.

SYNC Yo.u can see the person on camera as he or she is talking.

Tilt (up or down) Camera movement from a set position along a

vertical arc.

Truck A slow frame change accomplished by moving the camera sideways.

Voice-over (VO) The actor is speaking off-camera. You cannot see the
actor speak.

Whip shot A fast pan shot blurring the action on the screen.

Wipe An optical effect in which a line or object appears to move across the
screen, revealing a new picture. A page wipe simulates turning a page to reveal
a new scene “under” the previous scene. A clock wipe reveals a new scene in
clockwise motion.

Zoom (in or out) A fast move in or out accomplished with a zoom lens on
a fixed camera.

How to Show Your Concept

You have several ways to convey your concept for a TV commercial. The one you
use depends on the stage of development and conceptual ability of the person
approving it.

Script
This is the most basic and often the only method you need to show your con¬
cept. It’s written in the same way as a radio script, except there is a column on
 TELEVISION 279

Client: VISA
Product: Visa Card
Title: “Torino”
Time: 30 seconds

VIDEO AUDIO

OPEN ON SLIDE OF VISA LOGO

CUT TO WIDE SHOT OF MUSIC: UP AND UNDER
TORCHBEARER RUNNING ON ROAD, ANNCR: (VO) In the Italian Alps . . .
MOUNTAINS IN BACKGROUND
CUT TO MS BOBSLED RACE SFX: CROWD SOUNDS
STARTING
ANNCR: (VO)... is a place where people
will go faster . . .

CUT TO MS SKI JUMPER, ZOOM TO SFX: CROWD SOUNDS

WIDE SHOT ANNCR: (VO) . . . and fly farther than
ever before.
SLOW DISSOLVE TO WIDE SHOT ANNCR: (VO) The place is Torino, home
CALGARY SKYLINE AT SUNSET of the 2006 Winter Olympics . . .

CUT TO MS GIANT SLALOM SKIER SFX: SKIING SOUNDS

ANNCR: (VO) . . . where a lifetime of work
will be measured in seconds.

CUT TO MCU GOALIE STOPPING PUCK SFX: HOCKEY SOUNDS, CROWD SOUNDS
ANNCR: (VO) But if you go, bring your
camera ...

DISSOLVE TO ECU HAND HOLDING VISA ANNCR: (VO) . . . and your Visa card . . .
CARD OVER TICKETS

CUT TO WIDE SHOT OF LUGE RACER ON SFX: LUGE RACING

TRACK ANNCR: (VO) . . . because the Olympics
don’t take place all the time .. .

CUT TO MCU FIGURE SKATER ANNCR: (VO) . . . and this time ...

CUT TO CU SPEED SKATER SFX: SPEED SKATING, CROWD

ANNCR: (VO) . . . they don’t take
American Express.
DISSOLVE TO MS SKATER AFTER RACE MUSIC: OUT

SUPER TITLE: It’s everywhere you want to ANNCR: (VO) Visa. It’s everywhere you
be.® want to be.

VIS/V CARD/OLYMPIC SYMBOL

the left for VIDEO that lines up with the AUDIO column on the right. As with
radio, the directions and effects are in CAPS.

Storyboard
For more detail, you can create a storyboard, with pictures of key scenes
from beginning to end. The audio and video directions are under each frame. A
storyboard can be sketched by hand or created with photography. Storyboards
really help the producer, director of photography, and postproduction crew, as
well as the client, understand the spot.
280 CHAPTER 13

M **.

LEVERENZ SHOE COMPANY

AMY (off camera): I know I won’t be

comfortable.
ARMY (off camera): You’ll be
comfortable.
AMY: I know I won’t like them.
ARMY: You’ll like them.
AMY: So these are Armadillos?
AMY {OFF CAMERA): I know I won't AMY: I know 1 won't like them, AMY: So these are Armadillos?
be comfortable. ARMY: You'll like them. ARMY: Sure they're Armadillos. ARMY: Sure they’re Armadillos.
ARMY (OFFCAMERA): You'll be com¬
fortable.

AMY: So what kind of ants do you

catch with that tongue?
ARMY: Ants, schmants! You’re
comfortable, right?
AMY: This skin wouldn’t last ten years
in the desert.

AMY: So what kind of ants do you ARMY: Ants, schmantsi You're com¬ AMY; This skin wouldn't last ten years
catch with this tongue? fortable, right? tn the desert.

ARMY: But comfortable?

AMY: Ok, comfortable.
ARMY: See, you just gotta come out of
your shell more often.
ANNCR: You’re always comfortable with
Armadillos.

ARMY: But comfortable? AMY: OK. Comfortable. ANNCR: you're always comfortable
ARMY: See, you just gotta come out with Armadillos.
of your shell more often.

13.4. Storyboard.

Key frame
This should be the most memorable scene of a com¬
mercial. It may be the punch line” or ' payoff frame” in
a spot. Think of the single image that a newspaper or
magazine might use to describe a TV commercial and
you’ll know what we mean.

Scenario
13.5. A key frame from the famous This is a brief description of the commercial concept.

(some would say infamous) Miller

Typically, it starts with We open on a . . The scenario
“Catfight” commercial. can describe scenes in more detail and can also work in
marketing and creative strategies.
 TELEVISION 281

CLIENT: Pepsi bottle. Cut to an extreme close-up of the bear’s paws

grabbing sunglasses and cartons of Pepsi. Cut to a clerk
TITLE: Bear Identity Theft”
at mini-mart cash register who asks for ID. The bear
TIME: 30 second gives him a check and driver’s license showing a
bearded man who looks sort of like a bear. Cut to a
In this spot, we show a twist on identity theft, with medium close-up of the bear in a cap, sunglasses, and
thirsty bears looking for Pepsi to drink with the food flannel shirt. The clerk nods and says OK. Cut to a
they ransack from a cabin. We open on a medium wide wide shot of the bears running away from the store, on

shot of two large grizzly bears roaming through the their hind legs, carrying the Pepsi. The announcer says,

snowy wilderness. They break into a log cabin looking “Nothing goes better with leftovers than an ice-cold

for food. Rummaging through the cabin, they raid the Pepsi. It’s the cola.” Super the Pepsi logo.

refrigerator, open a cooler, and find an empty Pepsi

13.6.

Production Considerations
Why TV is so expensive
Clients who are new to television advertising wonder why it costs so much to
produce a spot. To estimate the cost of a major production accurately, it’s neces¬
sary to consider all the expenses, including the following:

• Preproduction • Producer, director, writer, and

• Location scouting and creative fees
related travel • On-camera talent
• Studio rental • Fees for insurance, shooting
• Sets and set construction permits, contingencies, etc.

• On-location site • Online and offline editing

• Equipment rental • Advertising, promotion, and

publicity
• Videotape and videotape
duplication • Research and follow-up

• Production crew • Materials, supplies, and

miscellaneous expenses
282 CHAPTER 13

Plus the agency has to make some money. So there are costs for casting, vendor
sourcing, scriptwriting, production supervision, and, of course, media commissions.

Shot selection

13.9. Close-up. 13.10. Extreme close-up.

Talent can make a

commercial or break the bank
Most on-camera and voice talent in major productions belong to either the
Screen Actors Guild (SAG) or the American Federation of Television and
Radio Artists (AFTRA). Working with union talent means you will pay a set
session fee. Depending on where and how the spot airs, you will pay for the
principals reuse or residual fees. Rates differ for network and spot market
 TELEVISION 283

Transitions between scenes

Cut.

Dissolve.

use—the more markets, the higher the fee, and you’ll pay residuals for each
cycle the ad runs. Add to that agent fees (10%) plus pension and welfare fees
(12.1%), and you’re looking at a lot of expenses. Keep in mind, all these fees
are for scale, the lowest price tier. Celebrity talent is negotiated with agents
and lawyers and can range from nothing (if the talent really believes in a cause)
to millions per spot.
284 CHAPTER 13

Ways to cut costs

As a beginning writer, you’re not concerned about the high cost of TV produc¬
tion. However, if you want to actually produce a spot, you may quickly see that
your wonderfully complex concept can’t be done as you’ve written it. Here are a
few ways you can get more into your spot with less effort and less money:

• Reduce the number of actors on-camera.

• Reduce the number of scenes.

• Use a stock photo or stock video to show a specific location.

• Use stills rather than shooting new video.

• Keep the concept simple.

Styles of Commercials
.1
Describing different kinds of commercials won’t make you creative. However, if
you start to analyze the various styles of commercials, you’ll see a pattern. You
may begin to understand why they are moving, or funny, or hard selling. A lot
of the styles blend together, so you may have a celebrity
in a problem/solution format or a vignette with a strong
musical theme. We don’t offer the following list of styles
as formulas, but rather to help you watch and then cre¬
ate commercials with a critical eye and ear.

Slice of life (problem/solution)

In the so-called Golden Age of Television, many com¬
mercials featured a slice of life (which was more often a
parallel universe) in which a frustrated housewife couldn’t
solve some kind of cleaning problem. A helpful neigh¬
13.12. What’s in your wallet? Not this guy bor, announcer, or cartoon character told her about
if you use a Capital One card. the advertised product and, like magic, her problems
were over.
Today’s commercials are not quite that cheesy, but
they’re still using problem/solution formats. For example, a Capital One cam¬
paign showed some of the threats of high credit card fees, represented by
marauding Vikings, Mongol hordes, abominable snowmen, and avalanches. The
solution was provided by flashing the Capital One bank card, which made the *
threat disappear, usually by attacking a noncardholder.

Demonstration
It didn’t take advertisers long to figure out that TV is a natural to show a prod¬
uct being used. Especially one that moves. Demonstrations have also been very
effective in showing what a product can do. One of the best demonstrations
was a wordless commercial for Cheer that showed a funny little guy putting a
dirty napkin into a clear bowl of cold water, adding Cheer, swirling it all
 TELEVISION 285

around, and pulling out a clean napkin. The following are various types
of demonstrations:

• Straight product in use

• Torture test

• Comparison to competitor

• Before and after

• Whimsical demonstration—exaggerated situation

13.13. Some SUVs are shown driving in 13.14. Citibank produced a great series of
winter. But this one is shown plowing commercials about identity theft. In each
under the snow. In fact, we never even see one we hear the voice of the thief while
the product, only the exaggerated benefit. we see the victim. This one talks about a
Only in a Jeep. stolen card used to buy a leather bustier
that “lifts and separates.”

Spokesperson (testimonial)
Ordinary person. You don’t have to be famous to pitch a product, although if
you do it right, you might become famous.

Character actor. Some brands are associated with a single character, created just
to promote that brand. For example, Mr. Goodwrench used Stephen Colbert as
a kind of annoying reporter to get the inside scoop on service technicians.

Corporate spokesperson. Whether it’s the CEO or an actor, some companies

use the same person to represent them on TV. Richard Branson is the personifi¬
cation of Virgin airlines, records, cell phones, and whatever else he’s selling
today. In the 1980s Chrysler chairman Lee Iacocca effectively convinced
millions to bail out his company and buy his cars and came back in 2005 to hype
discounts. Dave Thomas, the founder of Wendy’s, brought a warm, lighthearted
touch to hundreds of his commercials. Several years after his death, Wendy’s still
used his image in commercials.
286 CHAPTER 13

13.15. In early 2004, Pepsi ran a joint promotion with iTlmes. The TV spot featured real people who were
caught illegally downloading music. The background music—“I fought the law and the law won.”

13.16. The lonely Maytag repairman finally retired. Seems he didn’t have much to do anyway.

13.17. Following Cliff Freeman’s breakthrough “Where’s the Beef?” commercials, Dave Thomas’s folksy
commercials help propel Wendy’s to the number three spot among burger chains.
 TELEVISION 287

Celebrity. This is perhaps the oldest technique in television advertising, borrowed

from decades of use in print and radio. Whether it’s a sports figure, cartoon char¬
acter, or movie star, a celebrity can gain immediate attention and shine some of
his or her limelight on the product. As we discussed previously, make sure the
celebrity has some logical connection with the product, even if it’s indirect. For
example, Willie Nelson did commercials for Ff&R Block. What’s the connec¬
tion? Years ago Willie had some problems with the IRS. A good tax preparer
could have helped him stay out of trouble with the feds.

13.18. Yo, it’s you, Yao. Although his 13.19. He used to be a real stiff, but now
English was minimal, some funny word¬ Frank is pitching Osteo Bi-Flex for arthri¬
play worked well for this spot for Visa. tis pain.

13.20. Two superstars combine their 13.21. In the four years of using the duck,
special powers in a series of ads for Aflac has seen sales increase 20%,
American Express. In addition to TV, Jerry and consumer awareness has shot to 90%
Seinfeld and Superman have teamed up from 12%. The duck is more popular than
on the Amex Web site. Ronald McDonald and the Energizer Bunny.7
288 CHAPTER 13

Story line
This may be a mini-movie, with a
beginning, middle, and end. And
like many movies, the ending may
be ambiguous, as in the 2003
Volkswagen Jetta commercial. The
commercial opens with a bride
preparing for her big day. The action
cuts to a frantic young man in his
Jetta, obviously in a hurry. He is
becoming more frantic and frus¬ 13.22. The viewer is led to believe that the frantic Jetta driver is
trated with each delay. Finally, he late for his own wedding. But as he arrives at the church we see
arrives at the church and bursts in to something else. It’s not only a good story line, but it also has an
the surprise of the bride . . . and the enigmatic twist.
groom. You’re led to believe that he’s
late for his own wedding. The end¬
ing is left open. Does he stop the wedding? Does the
bride run away with him? And, some might ask, what
does any of this have to go with a Volkswagen Jetta?

Vignettes
These are usually made from a series of short clips that are
strung together, usually with a strong musical track to
hold it all together. Vignettes can be used to show differ¬
ent people using the same product or a variety of products
with the same brand. A good example of using vignettes is
the global “i’m lovin’ it” campaign for McDonalds. The
initial spots showed a wide variety of ages and races. An
example of different products for the same brand would 13.23. TBWA\Chiat\Day created this
be some Honda corporate spots that show cars, lawn “musical” commercial for Nike with
mowers, motorcycles, generators, and all the other prod¬ vignettes of NBA stars bouncing a ball in
ucts that Honda makes. time with the music.

Musical
It’s hard to separate music as a category, since it’s so integral to commercials today.
However, we’ll consider this as a unique type when music is the dominant factor of
the commercial. Over the years, Pepsi has been a leader in musical spots, merging
brand awareness, celebrity talent, and lots of singing and dancing. Some of the top
names associated with the brand are Michael Jackson, Madonna, and Britney .
Spears, none of whom are strangers to controversy.

Creative Techniques
for TV Commercials
The MTV influence
In the early 1980s, MTV changed the way we look at music. The hottest direc¬
tors experimented with a new genre and did things never before tried in
_ TELEVISION 289

television or movies. Music videos have kept evolving

since then and still represent cutting-edge creativity. The
lessons learned have been applied to commercials, first
on MTV'' and later in mass-market programming. The
following are some of the creative techniques pioneered
"Much of the messy
by music videos that have found their way into main¬ advertising you see on
stream commercials: television today is the product
of committees. Committees
• Hyperkinetic images
can criticize advertisements,
• Quick, jerky cuts rather than slow, sensible segues
but they should never be
• Short, disjointed vignettes rather than whole stories allowed to create them ”
• Tighdy cropped, partial images instead of whole ones —David Ogilvy8

• Combinations of live action, animation, typogra¬

phy, film speeds, and film quality

Other trends in commercial concepts

Edginess. The availability of adult content on cable and the general erosion of
old taboos have led to an increasingly raunchy attitude in television commer¬
cials. American commercials are still pretty tame compared to European televi¬
sion, but it’s not uncommon to see ads for previously restricted products and
themes. Until the 1980s, you couldn’t show a woman wearing a bra in a com¬
mercial. Compare that to the Victoria’s Secret spots of today. While the backlash
to Janet Jackson’s Super Bowl flashing created talk about toning down content,
don’t expect that to have any long-term effect on commercials.

Market segmentation. The availability of cable and satellite in more areas lets
programmers fine-tune their content for specific markets. Likewise with commer¬
cials. You’ll see commercials on some cable channels you’d never see on broadcast TV.

Brand image versus content. Attention spans are shorter and people are bom¬
barded with more messages than ever. So a lot of TV advertisers have given
up trying to provide any features and benefits. Instead they focus on the brand
character—the product and the people who use it.

The power of sports celebrities. Certain athletes transcend their sports and
become household names, even to people who have never seen them play.
Michael Jordan was a prime example in the 1980s and 1990s. Tiger Woods has
that potential as long as he keeps winning.

Humor in TV
The commercials people remember most seem to be the funny ones. Probably 9
out of the top 10 Super Bowl spots each year are funny. As with radio, don’t start
out to create a funny television spot. You may have a good joke, but it’s not a
commercial unless it sells something. Luke Sullivan offers some excellent advice
for writers who want to make their mark with humorous TV spots: “Don’t set out
to be funny. Set out to be interesting. I find it interesting that the Clios had a cat¬
egory called Best Use of Humor. And curiously, no Best Use of Seriousness.”9
290 CHAPTER 13

What Makes It Funny?

Some of the funniest commercials include at least some of the
following elements:

• The unexpected: Throw in a surprise ending, a twist, a zinger, something

they don’t see coming. Many times that unexpected ending involves
pain—physical or mental.

• Pain/risk of pain: The old formula of tragedy plus time works for TV even
better than radio because you can show it as well as tell it.

• Exaggeration: Making things extremely bigger, smaller, faster, or slower

than expected can be humorous. So can giving animals human traits or
vice versa. Extreme behavior can be funny too.

What Makes It Good?

You tieed more than a funny situation to make a good commercial. Many
humorous ideas fall flat because of poor production. The best humorous com¬
mercials need all three of the following:

WORDS OF WISDOM
• Good direction: The writer and director need to know
"The best advertising comes
when to use a wide shot, when to zoom in, how many
out of a sense of humor scenes to use, and all the other intangibles that make
and perspective about life a good spot great.
and a realistic perspective
• Attention to detail: Do the sets look real? Are little
on the importance of the kids dressed like real children? Are the props accurate
product in our Hues.” for the time frame depicted? Little things mean a lot,
and they show.
—Jeff Goodby10

13.24. What makes it funny? This commercial for travel

13.25. What makes it good? Attention to detail, good direc¬
insurance has all three elements—the unexpected, pain,
tion, the right talent, and tight editing. Plus, as you’ll see in
and exaggeration. (The wife’s attempt to vacuum crumbs
the following War Story, a good client and some fast think¬
off her sloppy husband’s chest has some disastrous results.)
ing by the copywriter.
 TELEVISION 291

• Talent/acting: This is perhaps the most critical element. The same

qualities that make a great comic actor different from a clown apply to
commercials. Remember that with TV you can show subtle expressions
and nuances in close-ups. You don’t need the broad gestures of a stand-up
comic or stage actor.

• Editing: Well-executed postproduction makes a huge difference. The

timing and transition of scenes can turn a “cute” concept into a truly
funny commercial.

Thinking on Your Feet decides to put it down his pants. Cut to him dou¬
While Working in a Vacuum bled up on the floor as the paramedics come to take
Jeff Ericksen is a copywriter and creative director at him away, thus showing the need for trip cancella¬
BVK, one of the biggest agencies in the Midwest. In this tion coverage. Funny . . . sure. Not a chance in hell
story he tells how to turn a potential disaster into a it’ll get approved ... wrong. The client loved it. Sold.
great commercial: Now the real fun begins. Two days before the shoot
the director and I are in the hotel bar talking about
Insurance is boring. Therefore, insurance advertis¬ some last-minute issues when we get a call. The vac¬
ing must be even worse. Not so. In creating a televi¬ uum spot has to die. Did some VP get cold feet? Were
sion campaign for Travel Guard Insurance we had the People for the Ethical Treatment of Penises plan¬
the benefit of working with an incredibly insightful ning a boycott? Nope. It turns out legal discovered the
client who knew that when all others zig, you have underwriters of the insurance policy would not cover
to zag. They also understood that not having a huge any self-inflicted wounds. So now what?
media budget, their one campaign would have to do With locations picked, talent chosen, schedules
the work of ten. They wanted to stand out. Cool. made, and crew hired there was a lot set in stone
In doing research for the project we came across and paid for. Never willing to give up, we looked at
a number of very odd but real claims travelers had the hand we were dealt. We have a guy, a bedroom
filed. This led us to the platform and copy line, “For location, and a vacuum packer. Now here’s where
the things you can’t imagine when traveling, there’s the lesson lies.... It seems the most successful
Travel Guard Insurance.” With this as our starting people in advertising are the ones who can think on
point, we created even more bizarre scenarios in their feet, see opportunity in the face of disaster
which Travel Guard could save a vacationer’s day. One and always believe there’s a solution.
approved commercial had airport baggage handlers In the end we created a spot where a wife was
trying on people’s clothes and “borrowing” items packing for a vacation while a lazy husband lies on
like toothbrushes to highlight baggage protection. a bed eating cheese puffs. Noticing the man with

Another spot featured a couple on a romantic bike crumbs on his chest, the wife starts to vacuum
ride in Italy. When the man’s eye wanders to another them off. Unfortunately for him, yet hilarious for
woman, he ends up sailing over some bushes, show¬ us, the hose gets stuck on his nipple, nearly ripping

ing the need for emergency medical coverage. But it’s it off. The spot ends with the man in the hospital

the third one that proved to be most interesting. with a protective cone over his nipple, foolishly eat¬

Here’s the concept: a guy is using one of those ing cheese puffs again, afraid his wife will notice.

vacuum packing systems to get ready for a trip. He Spot airs. Sales rise. Client is happy. All is right

notices the device’s superior sucking power, so he with the world.

292 CHAPTER 13

Tips and Techniques

Aside from the general advice for humorous spots listed above, the following
tips apply to nearly all commercials. These are offered as rules of thumb and
not as hard-and-fast guidelines you must follow. However, experience shows
that you can have a lot better results if you heed most of them when you are
critiquing commercials.

• Get immediate attention. The first 3 to 10 seconds are critical. Make the
first couple of seconds visually interesting.

• Stick with one main idea. Keep it simple. Don’t try

cramming more than 2—3 scenes per 10 seconds or
more than 10 scenes per 30. If you’re using vignettes,
you might need a lot more.

“Advertising has becorqe MTV • Think about brand awareness. Show the product and
lazy. You know, sound bites, involve characters with it.

spectacular effects, great • Use titles to reinforce key points. But not so many that
music—but no real idea. We the viewer feels like he or she is reading the commercial.
forget the key to advertising
• Think visually. Consider how you want to move within
effectiveness isn’t technique, a scene, transition between scenes, change scenes.
it’s intelligence.”
Don’t forget synergy. Don’t show what you’re saying or
—Helayne Spivak11
say what you’re showing.

• Audio is still important. Use music/SFX to describe

place or mood.

• Make every word count—count every word. Rule of thumb is about 2

words/sec and about 60 words for a 30-second spot. That’s less than radio.

• Give the viewers some credit. Let them complete the creative equation.
Don’t overexplain. They’ll remember it better too.

• Keep conversation real. Dialogue should be natural, not forced. Let the
announcer be the salesperson, if you have to have one.

• Don’t save it all for the ending. A commercial should be entertaining

through the whole spot. Don’t have a sloppy buildup to a punch line.

• Rely on your experts. Your director, art director, lighting and sound tech¬
nicians, and editor can make you look like a genius. Let them!

• Think in campaigns. Make your commercial compatible with, but not

identical to, the other elements. It should not be a video version of the
print ad. Think in terms of extending a concept without repeating the
same idea in subsequent spots.

• Study great commercials. Look for style, camera angles, editing tech¬
niques, and so on. Understand what makes them great.
 TELEVISION 293

TV and Global Campaigns

Because it delivers the highest impact, television is often the centerpiece of a
campaign. The tagline and music theme are usually launched on TV and then
carried over to print and radio. For multinational brands, the challenge is to cre¬
ate a striking brand image that appeals to people all over the world. In other
words, creative globalization.
In late 2003, McDonald’s rolled out their “i’m lovin’
it” global campaign. They developed a slogan and images
that were meant to be used everywhere they do business.
The campaign was driven by television commercials that
used vignettes, usually in urban settings—a 180-degree
"You have only 30 seconds [in
shift from the white suburban background of previous a TV commercial]. If you grab
television ads. The spots featured popular artists such as attention in the first frame
Justin Timberlake and the now ubiquitous “Dah dah
with a visual surprise, you
dah dah dah” jingle. Despite some critics’ reviews,
McDonald’s credited the new campaign with helping
stand a better chance of
turn their flagging business around. holding the viewer. People
About six months later, they launched a new series of screen out a lot of commercials
commercials. According to Larry Light, McDonald’s because they open with
executive vice president and global chief marketing
something dull.... When you
officer, “The new advertising . . . clearly demonstrates
that our ‘freedom within a framework’ global marketing advertise fire-extinguishers,
philosophy is working.”12 In a 2004 press release, open with the fire.”
McDonald’s announced: —David Ogilvy13

According to research conducted by McDonald’s, in

six-month’s time total advertising awareness of the
“i’m lovin’ it” campaign in its top 10 countries has
reached 86 percent overall, including 89 percent awareness among young
adults and 87 percent among moms.
“The popularity of ‘i’m lovin’ it’ is remarkable,” said Bill Lamar, Chief
Marketing Officer, McDonald’s USA. “It translates clearly and effectively
to every language and culture and has really caught the attention of our
customers here in the U.S.”14

Of course McDonald’s says they’re lovin’ the new TV campaign. But

other people are not so sure. Bob Garfield in Advertising Age says McDonald’s
commercials “aren’t meant to be advertising, so much as jingle-conveyance
mechanisms—much as McDonald’s fries convey oil and salt. Yeah, that’s it: This
stuff is to advertising as McDonald’s is to food—a Crappy Meal that stays with
you whether you like it or not.”15

Political Commercials: TV
Advertising at Its Best and Worst
Unfortunately, most political campaigns today launch full frontal assaults on their
opponents with the subtlety of a sledgehammer. It wasn’t always that way. In 1964,
294 CHAPTER 13

WAR STORY:

first few hours of shooting under our belt, we

Playing God
handed this new hire the film magazine and asked
Mike Trinklein is a former professor at Idaho State
him to remove the film and load another reel. A bit
University and a working professional film and televi¬
of explanation here: Reels of film are put in a light¬
sion producer. His business partner in Boettcher/
tight magazine and then snapped onto the camera.
Trinklein Media, Steve Boettcher, has won five Emmys
After shooting, the exposed film must be removed
and has produced feature programs seen on NBC, CBS,
PBS, and ESPN, to name a few. Mike relates a few of in a 100% dark environment—or it’s ruined.

the crazy things that happened during one commer¬ Typically, camera operators put the entire maga¬

cial shoot: zine in a black bag, zip it shut, then stick their
hands in special holes which grip tight around
You shouldn’t try to one-up Michelangelo. That’s their arms to prevent light leaking in. Then they
the lesson we learned from a commercial we feel their way around to change the film. It’s tricky.
produced for a national Lutheran church body. The Once you put your hands in the bag and open the
spot required re-creating the famous Sistine magazine, it’s the point of no return. You must get
Chapel painting where God reaches out to create the film into a light-tight can or all is lost. If you
Adam. Re-creating the Sistine Chapel with live pull your hands out in the middle of the opera¬
actors was a bigger undertaking than we expected. tion, well—it’s like a surgeon who has just cut
For example, in the painting, God is floating in an out the bad heart. He can’t say “oops” and ask for
impossible position (appropriately). So we were a “do-over.”
saddled with the task of building a system of Anyway, our guy stuck his hands in the bag and
pulleys and belts to twist, contort, and support our soon started contorting his face. Then he began
plus-sized thespian. When we finally got our actor sweating. More contorting. Then the impossible
into position and framed the close-up, we discov¬ happened. He pulled his hands out of the bag! Light
ered an unexpected casting problem. He was of was pouring in. I rushed over to seal up the arm
German ancestry. Don’t misunderstand, I’m holes as fast as I could (apparently I thought I was
German—as is my business partner (and pretty faster than the speed of light). Before we could
much everyone else in greater Milwaukee). The question (or pummel) the camera assistant, he
problem is we Germans all have stubby fingers. slinked away and ran out the door—never to be
Michelangelo painted God with long, elegant seen again.
fingers. It just didn’t match. What did we learn? First, casting requires
Nonetheless we pressed onward and shot more than just looking at head shots. Second, hire
the first reel of film. We had hired a new assistant experienced crew people—for film shoots (or
cameraman who claimed he was an expert on the heart transplants).
Arriflex movie camera we were using. With the
 TELEVISION 295

a single commercial for Lyndon Johnson ran

once but created a buzz that helped
assure his election. In the commercial, as a
little girl was picking petals from a daisy, the
audio played a countdown to a nuclear mis¬
sile launch, with the final scene showing an
ominous mushroom cloud. The commercial
from Doyle Dane Bernbach never men¬
tioned his opponent but implied wed all be
safer with LBJ’s finger on the nuclear trigger.
Twenty years later, Hal Riney and other
creative superstars were enlisted to help reelect
Ronald Reagan. Their “Morning in America”
commercial featured soft-textured vignettes
13.26. Although it ran only once, DDB’s famous “Daisy
that portrayed an improving economy and
Girl” spot for Lyndon Johnson is considered one of the
renewed national pride. Positive images of
great political ads of all time.
new home owners, kids raising the flag, and
newly married couples were backed by a rich
musical score and Riney’s own folksy yet authoritative voice. As a former commer¬
cial pitchman, Reagan knew the power of good advertising. With Riney’s help, he
got it—and a second term.

Checklist for Your TV Commercial

When you’ve finished your script or storyboard, let it rest, if you can. Then come
back to it and check the following:

• Does the video tell the story without

audio, and how well?

• Did you specify all the necessary

directions? Could a director take your
script and produce the spot?

• Do the audio and video complement

each other, and are they correctly
timed for each other?

• Are there too many scenes (can some be

omitted)? Do you need more scenes?

• Have you identified the product well?

• Does your script win attention quickly

and promise an honest benefit? 13.27. Hal Riney’s series of commercials for Ronald
Reagan portrayed an America that was safe, financially
• Have you provided a strong visualiza¬
secure, and confident of its future.
tion of the One Thing that will linger
in the viewer’s memory?

• Could a competitive brand be substituted easily and fit well?

• Is it believable?

• Are you proud to say you wrote it?16

296 CHAPTER 13

Presenting Your TV
OK, your spot meets all the requirements in the checklist. Now you’re ready to
show it to the boss. It’s not a print ad that you can just hand in. You have to sell
it. The following is a pretty good procedure for presenting a TV commercial,
especially to a small group.

• If it’s a stand-alone concept, review the creative strategy and state the One
Thing you want to convey.

• State your main creative theme for the commercial.

• Describe main elements—music, effects, actors.

• Walk through the video portion; describe what’s happening.

• Hit the key visual points, with emphasis on the key frame.

• Once the visual path is established, go back and read the copy.

• Summarize the action in a brief scenario.

Where to Find the

Best TV Commercials
Most people consider the Super Bowl to be, well, the Super Bowl of advertising.
To see the best spots from the past several years online, check out superbowl-
ads.com, ifilm.com, adcritic.com, and usatoday.com. Many others sites feature
good commercials as well. Most of the major awards programs post their TV
winners on their Web sites, and you can see the year’s best in the Communication
Arts Advertising Annual in storyboard form.
Here are some trends we noticed over the past few Super Bowls. Depending
on the viewer, they are either delightfully edgy or totally tasteless:

• Animals: It’s a real zoo. We’ve seen a donkey, a zebra, horses, dogs, and
chimps (and that’s just Bud); other animals include bears, cats, lizards,
ducks, turtles, monkeys, cheetahs, and wolves, to name a few.

• Crude humor: Some find this kind of slapstick humor hilarious. In 2004
some of the top-rated Super Bowl commercials featured a crotch-biting
dog, a flatulent horse, an oversexed monkey, and unintentional bikini
waxing (again, all for Budweiser).

• Stereotypes: Whether you are offended or find them humorously on tar¬

get, many commercials (especially for beer) featured insensitive, clueless
guys, beautiful but ditzy women, silly old people, and hip-hop culture
images of African American males.
 TELEVISION 297

Who’s Who?
Jay Chiat—Jay Chiat founded Chiat\Day, the agency that gained fame with its
unique Apple Computer and Honda work. Chiat added research-based account
planning, preached ideas rather than technique, pioneered (and later aban¬
doned) the virtual office, utilized satellites and interactive video, helped found
the Advertising Industry Emergency Fund, and drove his agency to $ 1 billion-
plus in billings by the 1990s. C\D’s “breakthrough” Apple Macintosh commer¬
cial, “1984”—created by art director Lee Clow, written by Steve Hayden, and
directed by Ridley Scott—won every industry honor and award. Chiat also led
efforts to bring minorities into advertising.17

Lee Clow—Lee Clow was the art director and creative force behind some of the
most influential advertising of his generation. His work for Chiat\Day and later
TBWA\Chiat\Day includes the famous Apple “1984” spot as well as the Taco
Bell Chihuahua, Nike “Air Jordan,” and the Energizer Bunny. Dan Wieden of
Wieden + Kennedy, another creative giant of the modern era, described Clow
this way: “Lee Clow’s heart has been pumping this sorry industry full of inspi¬
ration for longer than most its practitioners have been alive. He is the real thing.
He is indefatigable. I hate him.”18

Cliff Freeman—Cliff Freeman used outside-the-box creative vision to build

recognition and brand awareness. His agency’s unique approach attracted the
general media coverage that transformed advertising into popular icons. Freeman
gained fame with the still-popular Mounds/Almond Joy candy bars (“Sometimes
you feel like a nut. . . sometimes you don’t”) and Wendy’s “Where’s the Beef?”
campaigns. His own agency, opened in 1987, brought forth Little Caesars’s
“Pizza! Pizza!” Freeman’s distinctive work has brought him numerous major
awards along with “most remembered” and “most popular” honors.19

Hal Riney—Hal Riney achieved creative excellence by getting people to like his
clients. His work for Saturn cars, Bartles & James, President Reagan, and others
celebrated a unique American spirit that was confident yet at times self-effacing.
While working at the San Francisco office of Ogilvy & Mather, he was part of
the First Tuesday team, which created ads for Ronald Reagan’s reelection effort.
In 1986, he took over the office, renaming it Hal Rney & Partners, and went
on to mastermind GM’s Saturn introduction with dazzling success.

Notes
1 Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (New York: John Wiley,
1998), 103.

2 See the AAAA Web site at http://www.aaaa.org.

3 George Felton, Advertising: Concept and Copy (Englewood Cliffs, NJ: Prentice Hall, 1993), 193.

4 Ibid., 193.
298 CHAPTER 13

5 “The Future of Advertising,” n.d., http://advertising.about.eom/od/planning/a/interactivetv

.htm (accessed July 6, 2005).

6 Ibid.

7 “Aflac Duck’s Paddle to Stardom: Creativity on the Cheap,” Wall Street Journal, July 30,
2004, Bl.

8 David Ogilvy, Confessions of an Advertising Man (New York: Ballantine, 1971), 70.

9 Sullivan, Hey Whipple, 56.

10 “Jeff Goodby’s Creative Rules,” from Advertising Age, January 29, 2001, available on the
Center for Interactive Advertising Web site, http://www.ciadvertising.org/student_account/

spring_02/adv382j/eoff/ultimategoodby/creative.html (accessed July 6, 2005).

11 Quote from the Clio Awards Web site, http://www.clioawards.com/html/wsj/spivak.html

(accessed January 10, 2005).

12 Quoted in McDonald’s Corporation, “McDonald’s Rolls Out New “i’m loving’ it”
Commercials” (press release), May 12, 2004, http://www.media.mcdonalds.com/secured/
news/pressreleases/2004/Press_Release05122004.html (accessed July 6, 2005).

13 David Ogilvy, Ogilvy on Advertising (New York: Random House, 1985), 111.
■*

14 Ibid. Quoted in McDonald’s Corporation, “McDonald’s Rolls Out New “i’m loving’ it”
Commercials” (press release), May 12, 2004, http://www.media.mcdonalds.com/secured/

news/pressreleases/2004/Press_Release05122004.html (accessed July 6, 2005).

15 Bob Garfield, “Why McDonald’s New Ads Are Like the Food,” Advertising Age, May 17,

2004, http://www.adage.com/news.cms?newsld=40503 (accessed July 6, 2005).

16 Phillip Ward Burton, Advertising Copywriting (Lincolnwood, IL: NTC Business Books,
1991), 258.

17 “Jay Chiat,” in “Top 100 People of the Century,” Advertising Age, March 29, 1999,
http:/www.adage.com/century/people010.html (accessed July 6, 2005).

18 Quoted in Karen Lee, “The Lowdown on Lee Clow: Advertising’s Chief Creative Maven
of the Last Quarter Century,” 2000, available on the Center for Interactive Advertising Web
site, http://www.ciadvertising.org/student_account/ fall_00/adv382j/klee/Lee_Clow/Lee_
Clow.htm (accessed July 6, 2005).

19 “Cliff Freeman,” in “Top 100 People of the Century,” Advertising Age, March 29, 1999,
http://www.adage.com/century/people098.html (accessed July 6, 2005).
 Internet

I magine you’re an advertising executive in the early 1940s and someone tells
you about a wonderful new kind of technology that will revolutionize
advertising as we know it. This new invention is called “television” and it’s
kind of like radio with pictures. After squinting at a blurry black-and-white image
on a six-inch screen, you’d probably write it all off as an interesting little gimmick,
but not worthy of any changes in your thinking about marketing or advertising.
That’s where the Internet was about 10 years ago—a fascinating concept
with a lot of possibilities, but not something any mainstream advertiser would
consider. Then came commercialization of the Web and the dot-com revolution
of the late 1990s. Almost everyone jumped in headfirst. The number of Web
sites increased exponentially, and online advertising revenues skyrocketed.
Almost as quickly as it boomed, a lot of it went bust by 2001.
Today, online advertising has achieved a solid comeback and appears to be
headed for long-term, sustained growth. The reasons include the following:

• Advertisers now have realistic goals for online results.

• Online use is more measurable, so online advertising is more accountable.

• More consumers are online, and the number keeps growing.

• The growth of broadband makes rich content more practical and

affordable.

• The Internet and television are merging to provide a seamless interactive

entertainment and information medium.

• Advertisers have accepted that the Internet is a critical component of an

Integrated Marketing Communications strategy and not an afterthought.

To understand why the Internet and online advertising are important to your
career in marketing communications, look at these numbers:

• The number of Americans online reached 150 million in 2003, making it

the fastest-growing medium ever.1

• The average Internet surfer spends 11.5 hours online a month.2

300 CHAPTER 14

• The ratio of users is evenly split—50/50—between male and female.3

• Most of users are in the most desired age demographic: 76% are 18—49.4

• Many users, 44%, make more than $50,000 a year, and 71% have some
college, a college degree, or an advanced degree.5

• Market penetration of high-speed connections has reached 40% and will

reach 60-70% within two years.6

Why the Internet?

In addition to the statistics listed above, the Internet is desirable for a copywriter
for several reasons:

• It’s always on. It provides entertainment and information 24/7, anywhere

in the world.

• It’s personal. Perhaps the most personal medium ever.

• It’s dynamic. The use of video and audio plus print gen erates more impact.

• It’s a Web. Links provide easy access to marketing partners for co-op and
cross-promotion opportunities.

• It fits into a campaign. You can make a Web site the flagship of your cam¬
paign and promote it with other media.

• It’s a data mine. Whether visitors provide data consciously or you get it
under the radar, you know who’s visiting your site.

• Almost everyone is connected. The digital gap is closing fast. The Internet
is not just for rich folks anymore. The proliferation of hot zones makes
Internet access even more widespread.

Why Not?
Most of the following drawbacks will be solved in the near future through better
technology. But right now, the Internet is not the final solution.

• You need a computer. While devices like cell phones are making Internet
access even easier, the majority of consumers can’t take advantage of
rich media.

• Not everyone has broadband. A lot of customers still connect through

dial-up.

• Attention spans are shrinking. People don’t want to wait for rich media to
load. That means you have to grab attention in a few seconds and hold it.

• Measurement is better than with traditional media, but still not as good.

• You are limited to the size of a computer screen. No matter how it’s dis¬
played, you still can’t touch and feel it.
 INTERNET 301

What happens 10 years from now?

The Internet started out as the Wild West—a lot of
opportunity but no rules. While no one can predict
exactly how the Internet will change, we can make a few "Ten years ago we thought
reasonable assumptions. Dan Early, president of Ascedia,
of the Internet in terms of
Inc., a major Web site development and interactive
marketing firm, offers these predictions: technology and not as a
medium. Today, we're in the
• Devices will change for advertising, providing media business where we use
more opportunity for video and text messages.
technical people to quantify it.”
• Messaging formats will be richer. —Steve Moss7

• Online advertising will be mainstream and incor¬

porated as part of general marketing communi¬
cation strategy.

• Message delivery will have greater global impact.

• Agencies will need to integrate cross-platform communications to include the

Web, and advertisers will seek strong one-stop shopping from their agencies.

Technology will allow consumers to block ads even better than they
can today.8

Terminology
The list of computer- and Internet-related terms is growing almost as fast as
processor speeds. New terms and acronyms appear every day. Just when you think
you’ve mastered the lingo, a totally new set of terms emerges. The following are
a few key terms you should know:9

Ad clicks The number of times users click on an ad banner.

Bandwidth Usually measured in bits per seconds (or megabits per second),
bandwidth defines how much information can be sent through a connection.
The bigger the bandwidth, the faster you get data. Anything over 300 kilo¬
bytes per second (kps) is considered high speed. Traditional dial-up is 56 kps,
ISDN is 128 kps, DSL can range from 192 kps to 1,500 kps, cable is 1,000
kps, T1 is 1,540 kps, and T3 ranges from 3,000 to 45,000 kps.

Button An Internet ad smaller than a banner.

Click-through The percentage of ad views that resulted in an ad click.

Content management system (CMS) A CMS uses a central database as

the repository of all text and images. Rather than building separate pages
with dedicated content for each page, the CMS selects images and assem¬
bles the page. This is especially useful for sites that may use the same
images but different translations of text. It also allows nontechnical people
to access data and update portions of their Web sites without going back to
a programmer.
302 CHAPTER 14

Cost per click (CPC) Used to price advertising online. Advertisers pay
Internet publishers based on the number of clicks a specific ad banner gets.
Rates usually range from 10 to 20 cents per click.

Hits Every time a Web server sends a file to a browser it’s recorded as a hit.
This is actually a poor measurement of traffic because every item on the page
is registered in the hit count. For example, if two graphics are on a page, three
hits are recorded (one for each graphic and one for the page itself).

Impressions (or ad views) The number of times an ad banner is down¬

loaded and seen by visitors; corresponds to net impressions in traditional
media. {Note: You can’t tell if an ad was actually loaded, which has been a
major problem in online advertising measurement.)

Interstitial ad Appears in a separate browser window while you wait for a

Web page to load. These usually contain larger graphics and more stream¬
ing presentations than standard banners. While they generate more impact,
many users complain that they interrupt access to destination pages.

Junlp page (or splash page) Click on a banner and you’re sent to the jump
page, which can be used to promote special offers or measure the response
to the ad.

Rich media Advanced technology used in Internet ads, such as streaming

video, interactive applets, and special effects. High bandwidths allow faster
transfer rates, which allow rich media.

Site map This can be shown as a schematic, organizational chart, or text out¬
line. It organizes all the content of a site by subject, which not only helps devel¬
opers and content providers but also helps viewers find information on the site.

Sponsorship In the Internet world, sponsorship is when an advertiser pays

to sponsor content, usually a section of a Web site or an e-mail newsletter.
The sponsorship may include banners or buttons and possibly a tagline.

Streaming video Basically, it’s video on demand that’s made possible by

high-speed connections.

Web Site Design

As Dan Early points out, Web development partners
"The Web is a process, not a
should generate ideas, not just take orders. That’s why
project. It's a living and we’re seeing a shift from the title and role of “Webmaster” *
breathing thing that requires a to “interactive marketer.”

commitment. The Web affects As a copywriter you may be involved in Web site
design in several ways, ranging from developing a total
all marketing communications
site to writing a headline for a banner ad. No matter
and operations of a business.” what your role, you’re probably going to need some help.
—Dan Early10 Just as you can’t produce a radio or TV commercial with¬
out some technical assistance, the same is true of Web
site development. You may have the big picture for the
site, but you need to know if your ideas are practical and
 INTERNET 303

affordable. For example, we had a client who wanted to introduce his home page
for a university with a “hologram” of the university president, who would float
onto the page (presumably like an angel) and introduce each section. We relied
on our Web developers to tell the client that his vision was “interesting” but not
technically feasible given his tiny budget.
Your role in Web site development begins with your understanding
the client’s wants and needs as well those of the customers. What does the
client want to accomplish? Do they want an e-commerce component? Is this site
only for information? Do they have opportunities to include video or
360-degree movies?
If you are Web savvy, you may be able to “walk the walk” as well as “talk the
talk.” But even if you’re a budding Bill Gates, you may want to rely on some
technical expertise from programmers and Web site designers. You should ask
someone with more experience if your ideas are (a) technologically feasible,
(b) affordable for your client’s budget, and (c) original. Chances are your ideas
were inspired by what you’ve already seen on the Internet.

Planning
When you determine what the client wants and what they can afford, you
(and your Web site development partners) need to start laying out the Web
site—not only the content, but also how it’s all connected. To do this you need
to do two things:

1. Identify the main sections and subsections of your Web site.

2. Link them all together in a diagram called a site map.

The site map is the master plan for the client, the creative team, and the
technical team. It should identify all the main components of the site and out¬
line the logical navigation of the Web site. If your goal is to never be more than
two clicks from anywhere on a site, you need to have a navigational path in
mind. When someone starts playing “what if” games, get out the site map and
see where those new ideas fit.
In many ways, a site map is like a company’s organizational chart. There is a
hierarchy, with the home page at the head and various major sections reporting
to it. Each major section has subsections, and, as in a well-run company, a com¬
mon operating procedure (in Web terms, universal navigation) is the common
thread through every section.
A site map for a traditional site with discrete pages will look differently from
one for a site with a content management system. Rather than repeat pages in
each section, a CMS site connects those sections to a central database.

Designing the site

When developing the look and feel of a Web site, you have two main considerations:

1. Template: the organization of elements and backgrounds

2. Content: what goes into the template

304 CHAPTER 14

Janine Carlson, director of strategic marketing and principal at Icon

Communications, points out the greatest challenge facing online marketers:
“You cant be satisfied with getting a reaction. You have to spark an interaction.
One is simply a split-second exchange with your audience. The other opens the
door for an ongoing relationship. And that should be the goal for anyone work¬
ing in advertising or marketing.”11

Think campaigns. Your pages have to work individually and cumulatively. Make
sure your design has the same look and feel throughout the Web site, even though
many pages will have different functions. Most designers start with the most com¬
plicated page. If you can make that work, the simpler pages will be easier to lay out.

Design at different levels. Your site map is usually headed by the home page,
which should set the tone for the whole site. Then the next level, or first-level,
pages are used to hold content for the main sections. Each of these first-level pages
has buttons or links to second-level pages, which in turn may have links to third-
level pages, and on it goes. Your first-level and subsequent pages should have the
same look and feel as the home page, even though they have different functions.
This does not mean they have to look exactly the same, but consider font size, col¬
ors, graphic style, and all the other design elements that hold together a campaign.

Prioritize. To paraphrase Howard Gossage, people read what interests them, and
sometimes it’s a Web site. But there is a limit to what they are willing to read, and
Web site visitors have short attention spans. There’s just too much to see on any
given site, so it’s natural to jump around. It’s critical to put the most important
information up front and display it prominently. For example, if e-commerce is
an important marketing activity, make sure the casual visitor is directed to that
section of the site.

Don’t forget the navigation. Think about how a visitor finds his or her way
around your Web site. Primary navigation on a home page directs visitors to the
major sections or first-level pages. Secondary navigation directs visitors to content
inside a specific section. Universal navigation is on all pages—for example, links
to the home page, “search,” or “contact us.”

Keep it simple. Besides overdesigning a Web site from a graphic standpoint, you
can also overdo the technology. Too much movement is annoying and pulls read¬
ers away from the text. Don’t use technology for its own sake. Instead, concen¬
trate on strategy: what you want to accomplish, not how cool you can make it.
A Web page template is basically a table—a grid pattern (see Figure 14.1). This
is how the page is built, but it doesn’t always indicate that the final appearance has
to be a perfectly symmetrical grid layout. The navigation sections can go anywhere
on the page, and the main content can be anything that fits in the window.

Static or active?
Until fairly recently, most Web sites consisted of hard-coded static pages. Some
sites have thousands of pages of text and visuals linked together. The content and
templates are locked together on each page. This not only makes for more com¬
plicated navigation, it also produces a lot of redundancy, especially if text and
 INTERNET 305

Figure 14.1. Web Page Template

graphic elements can be used on multiple pages. However, a static site makes
sense for many reasons.
Active content uses a CMS with information in a central database. The con¬
tent is separated from the template, which makes changing content much easier,
since you are not changing the background.
Dan Early offers the guidelines listed in Table 14.1 for deciding on a static
or active Web site design; he also notes that “successful sites find the balance
between both active and static content.”12

Writing the content

While most of the basic writing guidelines we’ve presented in Chapters 6, 7,
and 8 apply, writing copy for Web sites also has its own set of rules. First of all,
people do not like to read online—mainly because it’s harder to read a screen
than the printed page. Instead, they scan copy, much the same way they look at
full-size newspapers. Bold headlines and pictures catch their eye and may draw
them into the copy for more detail. In many cases, visitors print pages to read
later rather than wade through a lot of text on-screen.
Here are a few tips for writing Web site content that people will want to read:

• Call out key words. Use boldface and/or color to highlight important
words. But don’t overdo it. You still want to make it easy to read.

• Use subheads to break up major copy blocks. Since people scan rather than
read, make sure your subheads have some meaning related to the body
copy. Don’t be so cute with your subheads that visitors miss the point of
your content.
306 CHAPTER 14

Table 14.1 When to Use Active and Static Content

Use Active Content (database driven) Use Static Content

When it provides value in site maintenance When content does not change often

When content interacts with the user When content does not interact in
experience and specific applications other phases or applications

When content requires unique When content is not always online

searching functions

When you’re publishing content for multiple

locations as well as online

• Keep it simple. Stick with one main idea per copy block or paragraph.
Don’t introduce too many new ideas per section. In some ways a text-
heavy Web site is like a bad PowerPoint presentation—too much copy on
tWo few slides.

• Convert paragraphs to bullet points. This is especially critical if you

have several key features and/or benefits. Make it easy to see the key
copy points.

• Limit your text links. The beauty of the Web is the ability to navigate
within and to other sites. However, too many links interrupt your message.
You don’t want to hook readers and then lose them to another topic or even
another Web site, which may take them to yet another destination.

• Lead with the main message, then drill down. This is the inverted-
pyramid style of journalistic writing. You state your main message up
front and gradually add more detail to support that message. Many times,
the opening paragraph will be enough to hook the readers or at least get
them to download the whole message.

• Keep it short. The rule of thumb is to use half as many words as you
would for a comparable print piece. As we mentioned, people read text
on-screen much more slowly than they read print.

• Avoid scrolling. If at all possible, try to keep a short block of text within a
window, so readers don’t have to scroll down. Since people don’t like to read
online, they really hate to take any special effort to read even more text.

Programming the site

As we mentioned earlier, various disciplines are involved in providing Web con¬
tent and making it functional. While you, as a writer or designer, may not han¬
dle the actual programming, you still need to be aware of some technical issues
that will affect the content you create.

Operating systems. While Web site content is usually created on a Mac or

Windows operating system, some programming is done on Unix or Linux
machines. A site created on one OS may look different on another, so it’s
important to test the site on every popular OS.
 INTERNET 307

Screen size. The screen size is measured in pixels. The

height of the image in pixels times the width gives you
the screen’s resolution. The most common screen resolu¬
tions are 640 X 480, 800 X 600, and 1,040 X 780. On the
same size monitor, the lower the resolution, the larger the
"When concepting your
images. So what does this mean? When you create a tem¬ online ads, don’t think that
plate and the content, it has to fit the lowest common it can’t be done. It probably
denominator, which rules out high-resolution photos and can be done. Think instead
images larger than 640 X 480 for a 15-inch monitor.
about what you need to say,
Browser-safe colors. Your operating system may make
not how you’ll do it”
millions of colors available, but only 216 are considered —King Hill13
safe for all operating systems and browsers. Make sure
you stick with this palette.

Browser selection. Browsers make

viewing a Web site possible. Two
products account for more than
90% of the browser market: Microsoft
Internet Explorer and Netscape,
which is owned by America Online
and Sun Microsystems. The other
fraction is divided among a few minor
players. While all browsers basically
operate the same way, make sure your
site works with older as well as recent
versions of Netscape and IE.
14.1. MINI Canada created a very simple-looking interactive
Additional software requirements.
personality test that matches the tone of their other adver¬
One of the problems with rich-media
tising efforts.
_ Web sites is some visitors may not be
able to see that really cool video. So
you have to make additional software available through your site. These appli¬
cations may include Flash, Real Media, QuickTime, Microsoft Media Player, or
several others. Without installing them on their computers, your visitors may
not be able to take advantage of all your site’s functions.

Personal portals
In the past two or three years, much discussion has focused on the idea of
personalized portals as the “latest thing” in Web technology. The scope of per¬
sonalization and the impact it has on Web organization and costs vary widely.
The personal portal is the access or interface layer to all the back-end services
and technology for communicating to and from individuals.
A simplified personal portal can be an access point for user interfaces that lets
users connect and interact with the functions and resources on the network they
need most often. Many of these sites have names that begin with the word My,
such as “My Yahoo” or “My eBay.” The purpose is to give visitors the ability to
customize the content they see and how it is displayed. If you produce a lot of
new content regularly, a portal model may be a great way to serve the needs of
a number of diverse Web audiences.
308 CHAPTER 14

BORN ON
date

7.5,2005

Welcome to 8udweiser.com Budweiaer Internationa! Yourname^Budweiser.com Links Mailing List

Turn Sound Oft

BEER RACING RETRO ENTERTAINMENT MUSIC MOBILE GAME TIME BUDSHOP

&> 2005 Anheuser-Busch, Inc., Budv/©*ser«3ji Beer, &t„ Louis, MO Privacy Policy Terms and Conditions Beeresponsibie.com Contact Us
Budweiser is brewed to be enjoyed responsibly by adults.

14.2. Budweiser keeps their very detailed site fresh with new videos, promotions, and music features. They also mention something
about beer.

The more detailed the personal portal, the stronger the direct link to the
visitor. However, some extremely complicated portals require a great deal of
technology to make them functional. What’s more, the nature and amount of
personal information may be hard to obtain. People are becoming less willing to
give out personal information over the Web. The amount of transcoding needed
for the different user devices to intercommunicate across networks, combined
with the various application processes, can be prohibitive in terms of labor,
timing, and cost.

Online Branding
As online marketing becomes more integrated into a total marketing communi¬
cation campaign, Web site development has to consider the impact on brand
image. For most consumer brands, a Web presence enhances their brand
identity and positive brand image. You can animate the logo, use Flash to add
 INTERNET 309

motion to the name, create interactive programs that involve the brand, and use
cross-promotional opportunities on the Web. Dan Early offers some guidelines
for online branding:

• Identify the brand attributes that can be applied online. What are the
goals for the brand, and how can they be achieved on a Web site or in
online advertising?

• Be specific within the medium. If you can, differentiate the brand using tech¬
niques specific to the Web. Don’t use the same broad brush for all media.

• Develop the branding strategy and apply it to the Web. Consider messag¬
ing, experiences, interactions, relationships, the tone/voice.

• Coordinate with all other marketing ejforts. No Web site is an island,

regardless of the touch point.

• Be willing to evolve. Each medium, including the Internet, has its

own abilities and attributes that evolve and change to support brand
building online.14

This is one of those projects that turned out so

MINI Wants to Know
well that it seemed as if the clients were as con¬
What’s in Your Head
cerned about padding our portfolios as we were.
MINI Canada commissioned a graphically simple
But that’s really not the case. We worked hard to
interactive “inkblot” test (using MINI silhouettes) that
make sure the piece reflected the mischievous
was fun for the participants and useful to the client.
MINI branding and that it was entertaining
Steve Mykolyn, creative director for TAXI, the design and
enough for users to actually want to hear more
development firm for the site, explains:
from MINI. This piece met each of their initial

To put the audience in the right frame of mind, we objectives and has been a huge success from a

began with a lengthy Flash intro using relaxing viral standpoint. The program will continue with

music and a soothing voice-over. We then showed further e-mails to deliver specific info to users

four inkblots and asked them to choose from a list based on their choices of performance or value.

of responses (the first three of which were obviously It’s currently being translated into at least three

nonsensical and the fourth was the only “real” one). other languages for use in other countries; we’re

Basically, a task that could’ve been accomplished in still waiting to see how they pull off the “MINI

under five seconds took almost four minutes—our Driver” joke in Russian.15

true source of pride on this project.

310 CHAPTER 14

Internet Advertising
While the Web site is a marketing communication element, it’s also a media vehi¬
cle, the same as a magazine or newspaper. In other words, it conveys advertising.
Online advertising hit a speed bump in 2001 after the dot-com collapse and
aftermath of 9/11, but it has been rising steadily since then.
Online advertising has a different set of rules and terminology than print.
Because ads can include audio and video, they can have a much greater impact
than static print ads. As Internet media expert Bruce Morris states: “Bandwidth
and serving power are the limiting factors for doing some really wacky and
visually exciting advertising on the Internet. But you can pack quite a bit into a
468 X 60 Web banner if you use your imagination and some cool tools.”16

Table 14.2 Standard Internet Ad Sizes

Type of Ad Pixels

Full banner 468 x 60

Full banner with vertical navigation bar 392 x 72

Half banner 234 x 60

Leaderboard 728 x 600

Micro button 88 x 31

Skyscraper 120 x 600

Square button 125 x 125

Vertical banner 120 x 240

Banner ads
Banner ads have been the staple of Internet advertising. The most common size
is 468 X 60 pixels, and they usually appear at the top of a commercial Web page.
They are priced on a cost per thousand (CPM) page basis. Prices vary based on
targeted sites and whether the banners are static or pop-up, ranging from $ 1 to
$50 or more. According to Bruce Morris: “Banners are not terribly good for
generating traffic but have a powerful branding effect. Matching site content to
banner ad subjects can certainly increase their power.”17

Rich-media banners
Newer technology lets you go beyond the ordinary banner ad to add drop-down
boxes, sound-on mouse-overs, animated bits, and even interactive games. Rich-
media banners and badges provide advertisers with ways to present additional
content and interaction within traditional ad sizes, including 468 X 60, 120 X
240, and 125 X 125. Rich-media banners and badges offer a great deal of
flexibility. According to studies, they can also lead to significant increases in
response, brand perception, and recall—for instance, a Wired/Millward Brown
Interactive study found a 340% increase in banner click rates when rich media
was used.18
 INTERNET 311

14.3. Banner ads can appear anywhere on a page, but most often they are at the top. While static banners are losing their impact,
the potential for rich-media enhanced banners is huge.
312 CHAPTER 14

14.6. Leaderboard ad (728 x 90). 14.7. In-line rectangular ad (300 x 250).

Interstitial ads
Interstitial ads are whole-page ads
or little boxes that pop up mysteri¬
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before you see what you want to

see. Interstitial ads run between the
pages of a Web site, just like com¬
mercials run between parts of
■■■••■ - - • • : > < - ■■ - a TV program. Some play in the
main browser window, while some
play in new, smaller windows; some
are precached, while some stream
ad content as it plays; some provide
the ability to create very rich ads,
while some focus on smaller, faster-
loading ads. Whatever the format,
nearly all interstitial ads perform >
well, as measured by both click¬
through rates and brand recall.19
A recent study found that inter¬
stitials are nearly twice as effective as
banner ads for increasing ad recall
and conveying the advertisers main
14.8. In-line ad, bottom-right text wrap.
message. Click-through rates are, on
average, five times those of banner
ads. However, consumers find inter¬
stitials twice as irritating as banners.20
 INTERNET 313

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Insurance • Loans • News ■ Markets - Credit Report
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MSN Highlights Featured Offeis • Auto price quotes ■ Need a lawyer?
Living • Move to beat allergies? • Editor's picks: watches • Cooi, free flip phones • Used car deals
Buy a House • Memory on a keychain • Online degrees that pay • Find old friends • Win an Alaskan cruise
Career Training • Free credit report • Winsor Pilates
• What to do when kids go • Peel years from skin
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Fitness & Recreation • Shop newly built homes • Fast *Net under $1/day
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Hews & Weather Now on MSN Video Hot coast to coast airfare deals
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14.9. Oscar Mayer used a banner ad in browsers to call attention to their contest. Click
on the ad (upper right), and it takes you to the contest detail page.

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14.10. You may already be a wiener ... or at least you could have won the
Wienermobile for a day in the Oscar Mayer interactive online contest.
314 CHAPTER 14

14.11. This interstitial ad is 510 x 425 pixels and features a movie of the vehicle with
links to product pages, an interactive contest, and the Mazda corporate site.

Out-of-banner ads
New technology has opened up a number of opportunities for moving images
out of the traditional banner ad grid—literally out-of-the box thinking. Some of
these ads fly across the page, appear from a tiny point to fill the screen, and
develop into messages from the site visitor’s cursor. Software programs such as
Director and Flash provide the ability to embed interaction, video, and audio
within the files. Shockwave is best suited for campaigns that want to utilize out-
of-banner real estate, such as applets, trading cards, and games. Viral marketing
and strong brand interaction are two of the key strengths of these ads.
A floating ad moves across the Web page that hosts the ad. Types of
floating ads include DHTML sponsorships, in which advertising objects
“fly” across the page on a preset course; cursor sponsorships, in which the
cursor turns into an advertising image; and scrolling ads, in which an adver¬
tisement moves up and down the edge of a page as the user scrolls up and
down. Floating ads give the advertiser and publisher the flexibility to achieve
nearly any effect. However, as this is one of the more daring types of online
advertising, advertising and content must be balanced on any given page.
Floating ads (especially DHTML and cursors) are best run for short periods to
create brand awareness—running them for longer periods can bring negative
user feedback.21
 INTERNET 315

14.12. This ad created in Flash is transparent and floats over the Web page. Three frames of a quick animation are shown above.
The ad promoted The Cat in the Hat movie as well as a contest promoting Sierra Mist.

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14.13. Blockbuster ran this floating ad in which Spider-Man had his own version of
the web.

Digital coupons
Digital coupons give you special deals on the Web. Coupons may be tied
to specific promotions or offer discounts on regular-priced merchandise. Like
traditional coupons, they are incentives to buy now and allow advertisers to
measure the response.
316 CHAPTER 14

14.14. Orbitz has used interactive pop-ups with great results. Even people who find pop-
ups annoying take time to play games such as “Dunk the Punk” and “Sink the Putt.”

Sponsorships
If you sponsor a section of a site, you can integrate your advertising and brand¬
ing elements a bit more unobtrusively than you can with just a banner at the top.
You may get a bit more exposure and can get closer integration with content.22

Pay-per-click/pay-per-sale
In the early days of the Internet, nobody knew what they were getting because
metrics (measurement standards) were so bad. That led to pay-per-click (PPG)
and pay-per-sale (PPS) advertising. Basically, the advertiser is charged more
money but is paying only for the people who see the ad or, in some cases, actu¬
ally buy something online. However, there is very little benefit when a visitor
clicks on a banner, sees it for a second, and then leaves. In a Web Developers
Journal article, Bruce Morris says: “These deals usually suck. Advertisers are
probably better off forgoing such deals and keeping their site visitors hanging
around longer.”23

Paid ads in e-mail newsletters

There are hundreds of thousands of online newsletters. Many allow advertising
at very modest fees. Click-through rates are in the 1-3% range.

Those annoying pop-ups

You know what they are. You hate them. So why do advertisers keep using them?
For the same reason you get junk e-mail. It’s a percentage game. Enough people
will notice them, click on, and get stuck. MSN has banned pop-up advertising
on their browsers. Others are following suit. Pop-ups, like junk e-mail, are being
easily filtered.
 INTERNET 317

Tips and Techniques

Dan Early offers these guidelines for creating online advertising:

• Recognize that this is the fastest-growing advertising segment: You need to

understand it.

• Understand the technology as well as the marketing.

• Limit clutter (include fewer than 16 elements).

• Use larger ad sizes.

• Use larger brand logos.

• Use logo and product shots in the first frame.

• Add the human element (people like to see people).

• Build frequency.

• Stay up-to-date. Commit to it!24

Other Online
Marketing Communication
Search engine marketing
Search engine/keyword marketing is the hottest online advertising trend.
It’s inexpensive, with a very low cost per lead (as low as 29 cents versus almost
$10 for direct mail).25
Optimization is one of the big buzzwords in interactive marketing today. It
refers to getting your site moved closer to the top of a search protocol. So when
you enter “NWBC” in Google for “Norwegian Wooden Boat Company” you
don’t get “Northwestern Business College.” We won’t get into a technical expla¬
nation of how this works. But there are a couple terms to know. The first is
META tags, which tell Web spiders what information to grab for a search rather
than having the spiders capture the first few sentences or paragraphs and
deciding how to prioritize the content. With META tags you can have the robot
display your Web page description the way you want it displayed (within reason,
of course). You can also help people find your Web page by providing keywords
that describe your page and help drive traffic to your Web site. Combining
META tag indexing protocols with pay-per-click gives you more budget control
to reach a very targeted audience.
Today the World Wide Web has more than three billion pages, so search
engines must use very complex algorithms to sort out data quickly and accurately.
When your site is competing with all the other sites in a search engine, getting
top listing can be a challenge. The odds of top-of-the-page display increase
dramatically when you pay for premium placement. Top placement spots in the
keyword search are sold to the highest bidder or priced on a PPC basis.
318 CHAPTER 14

You should consider search engine marketing as a form of advertising and/or

a key component of your Web site development costs. The only way to guaran¬
tee a top listing is to pay for it! Make sure your Web design budget allows for
paid search engine placement, including fees and the time required to design
and maintain the search engine marketing program. In addition, you need to do
the following:

• Put your most important and descriptive keywords first.

• ■ Use the most popular keywords in the body text of the index page.

• Include popular keywords in the title tag, because that tag is indexed by
every search engine.

• Don’t repeat your keywords, or it will look like spam.

• Avoid doing the whole site in Flash. Embedding Flash allows the page to
be indexed.

• Use META description and keyword tags on your index page.

• Use 25 words or fewer for keywords.

Buying keywords
To ensure top placement in search engines, you can buy keywords. Just so you
know, all the good ones have already been sold or are very expensive. Most legit¬
imate marketers buy words associated with their brand or product category.
Others buy words that casual surfers are looking for (usually related to porn) to
get their messages moved to the top of search lists.

Paid listing in portal sites

You pay a flat fee or a percentage of the sale to a portal site such as Google or
Lycos. Your listing appears when a visitor selects a category.

Permission-based marketing
Permission-based marketing (PBM) supports one-to-one marketing efforts or
correspondence campaigns. Unlike spam, permission based e-mail means that
the recipient has voluntarily agreed to receive messages and announcements in
order to be informed. A well-run PBM program can save a lot of time and
money over producing printed materials and mailing them in a direct mail cam¬
paign. Recipients feel more in control, since any legitimate e-mail campaign *
allows the recipient to opt out. Opt-in mailing lists hit very specific demo¬
graphics. These can be people who really want to see your ads because they’re
already customers or people who are considering your product versus the
competition. In addition, if the recipient follows links within the e-mail, these
can lead directly to a Web page where they can access additional information.
It is also possible to keep track of recipients’ responses using click-through
tracking technology.
 INTERNET 319

Rich mail
Rich mail allows graphics, video, and audio to be included in the e-mail mes¬
sage. When you open up a rich e-mail, your e-mail client automatically calls up
your Internet connection and launches an HTML page in your browser. E-mail
clients that are offline will invite you to click on the link when you have your
Internet connection open again. If your e-mail client does not support graphics,
you will receive the e-mail in text only.26

Opt-in e-mail ads

These are stand-alone ads, not attached to a regular e-mail message. These are
sent to people who have volunteered to receive the information (they have
“opted in”).

Weblogs (blogs)
Weblogs are popular with the highly desirable, young, Internet-sawy demo¬
graphic. Blogs are loosely structured, free-form sites that have so far not been
commercialized extensively. A recent study of 17,159 blog site visitors found
61% are over the age of 30 and 40% have household incomes of $90,000 or
above—clearly not an audience that advertisers should ignore.27
The popularity of blogs has drawn the attention of marketers, sometimes with
less-than-stellar results. Dr. Pepper showered teen bloggers with gifts and indoc¬
trinated them on how to blog its new Raging Cow beverage. The plot backfired,
with a well-publicized boycott and global media covering the debacle.28
Nike, on the other hand, made no secret of its commercial intent with the
“Art of Speed” on the gawker.com blog. Nike commissioned 15 talented young
filmmakers to interpret the idea of speed. Over the course of 20 days, this

14.15. This “commercial” for Tide with Bleach shows rather graphically how stained
tighty whities can kill the mood. While not officially commissioned by Procter & Gamble,
the fake spot was seen by thousands through viral marketing and Weblog appearances.
320 CHAPTER 14

14.16. Blogs are by nature anticommercial. However, when you create content that
interests the viewers, such as Nike’s “Art of Speed” film series, viewers accept it as
more than a crude attempt to co-opt the blog culture.

Weblog introduced these innovative directors, their short films, and the digital
technology behind the scenes. Nike is not the only net-sawy marketer taking
advantage of the blog upswing. Microsoft has MSN Blogbot and Oxygen Media
launched a blog to promote its Good Girls Don’t program. Google Adwords
sponsored links and ads through BlogAds. Whether blogs will develop into a
viable medium for big brands depends on whether they can learn how to use the
sites in the same spirit as their readers.29

Promoting the Web Site

So now you have a really cool Web site or some great ads on other sites and you
want people to see them. Aside from search engine marketing, how do you
increase traffic? If you keep in mind that the Internet should be part of an
integrated marketing campaign, you have several ways.

Linking strategies. The more links that point to your site, the more traffic you’ll
experience. One of the easiest ways to get complementary sites to link to yours
is to provide links to theirs. Another way is to join a Web ring, with each member
site linking to the next member down the chain. You can also join a banner
exchange: For every two banners displayed on your site that promote other busi¬
nesses, one of your banners will be shown on another member site.

Viral marketing. As with word-of-mouth advertising, viral marketing encour¬

ages others to carry your message, using their own network of relationships.
HotMail accounts are a good example. You get free e-mail, but every message
reminds each recipient to sign up for a HotMail account. Another example is a
postcard promoting a movie that you might want to send to a friend. Many
online articles feature little envelope icons that make it easy for readers to send
the articles to friends (along with all the surrounding advertising). Some inno¬
vative video producers create very edgy fake commercials for real products to
show off their talents. These videos create a viral buzz as friends e-mail to their
friends, with the intention that someone will contact the original producer.
 INTERNET 321

Public relations. When your online news release is picked up by print and/or
Internet publications, you’ll get a lot of “free” publicity. Of course, there is some
cost to prepare the copy, and you need a newsworthy message. When done cor¬
rectly, your online news release generates editorial support that you can’t match
with traditional advertising.

Traditional media. Most people still get their marketing messages through
traditional media. But, as we mentioned before, print and broadcast should work
hand in hand with the Internet. For example, you may have a short-copy ad with
prominent URL that tells a complete story. Some catalog service centers may only
be working 12-hour shifts, but their Web shopping pages are open 24/7.

Networking. Newsgroups provide networks of similar-minded people who

might be interested in your Web site. While it’s rude to barge in and promote
your site, you may want to check out likely groups and participate as a member.
But always include your URL in your signature.

Where to Find the

Best Online Marketing
You can choose from dozens of sites that recognize the “best” interactive work
in various categories. Any awards for last year’s work will probably be hopelessly
out-of-date. A better idea is to just keep using the Internet. You’ll see exciting
new stuff all the time. The rules keep changing. The creative just keeps getting
better. Bookmark what you like and keep surfing.

Note: We have made every effort to provide information about online commu¬
nications that is as up-to-date as possible. However, the Internet is a moving
target. Technology advances at a rapid rate, and, with it, marketing challenges
and opportunities change radically. Likewise, by the time this book is published,
we may have missed including in “Who’s Who?” for this chapter the latest
interactive superstar or may have featured someone who’s changed careers (it
happens a lot in this segment). All of which is a long way of saying, This is what
we know at the time of publishing. Much of it may already be obsolete.

Notes
1 As reported in June 2003 by eMarketer, http://emarketer.com.

2 As reported in 2003 by A. C. Nielsen.

3 Amanda Lenhart et al., The Ever-Shifting Internet Population: A New Look at Internet Access
and the Digital Divide (Washington, DC: Pew Internet & American Life Project, 2003), 6;
available online at http://pewinternet.org/pdfs/PIP_Shifting_Net_Pop_Report.pdf (accessed

July 8, 2005).

4 Ibid.

5 Ibid.
322 CHAPTER 14

6 Steve Moss, senior sales director, national field sales, MSN; remarks made during the
panel discussion “On-Line Advertising: Turn Virtual Exposure into Real Results,” American
Advertising Federation National Conference, Dallas, TX, June 14, 2004.

7 Ibid.

8 Dan Early, president, Ascedia, Inc., “Interactive Marketing Overview,” lecture presented at
Marquette University, Milwaukee, WI, November 6, 2003.

9 Many items in the following list are adapted from the “Ad Resource Glossary,” 2003, avail¬
able at http://www.tkb-4u.com/advertising/adglossary.php (accessed July 8, 2005).

10 Early, “Interactive Marketing Overview.”

11 Quoted in A. Jerome Jewler and Bonnie Drewniany, Creative Strategy in Advertising,

7th ed. (Belmont, CA: Wadsworth, 2001), 221.

12 Early, “Interactive Marketing Overview.”

13 King Hill, principal marketing strategist, DigiKnow, Inc.; remarks made during the panel
discussion “On-Line Advertising: Turn Virtual Exposure into Real Results,” American
Advertising Federation National Conference, Dallas, TX, June 14, 2004.

14 Early, “Interactive Marketing Overview.”

15 Interactive Annual 10 Winners,” Communication Arts, 2004, http://www.commarts.com/

ca/interactive/cai04 (accessed July 8, 2005).

16 Bruce Morris, “Internet Ad Types,” Web Developer’s Journal, April 22, 1999, http://www
.webdevelopersjournal.com/columns/types_of_ads.html (accessed July 8, 2005).
17 Ibid.

18 Beth Cox, “Study Finds 340% Click Rate Boost with Rich Media,” ClickZ Network News,
March 22, 1999, http://www.clickz.com/news/article.php/83721 (accessed July 8, 2005).

19 Verovi, “Banner Ads, Rich Media Ads, Flash Ads, Layer Ads and More,” 2002, http://
verovi.com/banner_ad_rich_media_ad_flash_ad_design.html (accessed July 8, 2005).
20 Ibid.

21 Beth Cox, “Study Confirms Effectiveness of Interstitial Ads,” ClickZ Network News, May
17, 1999, http://www.clickz.com/news/article.php/12_118931 (accessed July 8, 2005).
22 Verovi, “Banner Ads.”

23 Morris, “Internet Ad Types.”

24 Early, “Interactive Marketing Overview.”

25 Morris, “Internet Ad Types.”

26 Verovi, “Banner Ads.”

27 “Weblogs Reach Desirable Target Audiences,” June 14, 2004, on Adrants Web site,
http://www.adrants.com/2004/06/weblogs-reach-desirable-target-audiences.php (accessed *
July 8, 2005).

28 John Heinzl, “Dr Pepper/Seven Up Cowed by Web Plan,” Globe and Mail (Toronto), March
13, 2003, http://www.globeandmail.com/servlet/story/RTGAM/2003013.wpitc313/BNstory/
Technology (accessed July 8, 2005).

29 “Nike-Gawker Deal Tests Art of Speed’ Online Feature,” Advertising Age, June 14, 2004,

http://www. adage.com/paypoints/buyArticle.cms/login?newsId=40773&auth=(accessed
July 8, 2005).
 Promotions and
Point of Purchase
O K, time to review some definitions. Promotion is one of the Five Ps
of marketing. In its strictest definition, all marketing communi¬
cation is a form of promotion. However, in this text we’ll call it sales
promotion and define it as an activity that stimulates purchases by adding a short¬
term additional value to a product or service. In other words, the advertiser is
bribing you to buy something quickly. That bribe may be as basic as a discount
or as lofty as a donation to a worthy charity.

Sales promotions. Most (but not all) sales promotions have specific short-term
goals. They are designed to produce results quickly. Once the promotion is over,
sales can slip, sometimes prompting an unending chain of new sales promotions.
In some professions, sales promotions are still rare—you probably won’t see
a plastic surgeon advertising a free tummy tuck with every nose job. However,
the use of sales promotion is increasing, even in the service sector. Many mar¬
keters have seen diminishing returns from their traditional advertising efforts.
Sales promotions, for both trade and consumer, give their sales that extra boost.
This is especially common in the cutthroat world of package goods, where
the only perceived differences between products are in the promotions.
Traditionally, three-fourths of the total marketing communication budget for
package goods goes to trade and consumer promotion, while the rest goes to
traditional advertising.1
Sales promotion is actually more of a product than an advertising medium.
To be successful, promotions must be promoted, usually by traditional media,
such as television, magazines, and newspapers, as well as by Web sites and other
so-called nontraditional media.

Point of sale (POS) or point of purchase (POP). This is a display for a product
or service at the establishment where that item is sold. For example, a table tent
promoting a brand of beer in a bar or restaurant, a freestanding display for a brand
of lunch meat in a grocery store, or a poster for high-performance tires in an auto
parts store. The difference between point of sale and other out-of-home advertis¬
ing is that POS promotes an immediate purchase in the place where it appears.

323
324 CHAPTER 15

Public relations. The term public relations covers any nonpaid information
from a third party that mentions an identified product or service. There are
many kinds of PR, and were not going to address them here. Instead, we’ll
focus on the publicity aspect of PR and how it applies to promotion and
Integrated Marketing Communications. Examples include event sponsorship,
donations to causes, charitable foundations, and other good things companies
do that deserve positive mention. PR can also be used to announce a sales
promotion activity.

Why Sales Promotion?

For a copywriter, sales promotion offers many advantages, especially when it’s
integrated into a total campaign. Some of these advantages are as follows:

• It’s fast. Sales promotion accelerates the selling process and maximizes
sales volume.

• It can cover the whole distribution channel. Targeted promotions reach

wholesalers, retailers, and consumers.

• It can help retain customer loyalty. Promotions provide a way to stay in

touch with current customers and to give them incentives for continuing
their relationship with a brand or business.

• It can increase early adoption. You provide an incentive for a customer to

try a product for the first time. With the proliferation of new brands,
incentives shorten the path from awareness to action.

• It’s measurable. In most cases sales promotion is designed for short-term

sales increases, not long-term brand image. You get results (or lack of
results) almost immediately.

• It supports retailers. The growth of account-specific marketing, or co-market¬

ing, requires customized sales promotion programs for retail chains. For
example, Sony might offer a promotional program just for Best Buy stores.

• It fits the consumer’s expectations. On the plus side, consumers are recep¬
tive to promotions. On the minus side . .'. that’s coming later.

• It fits into an integrated marketing campaign. To be successful, most

promotion needs to be promoted by traditional media.

Why Not?
For each of the major advantages, there is a flip side:

• Because of their short-term, price-oriented nature, most sales promotions

do not help build long-term brand equity.

• Although incentives can help retain customer loyalty, they can also
encourage brand switching. If a brand has no perceived advantage, the
consumer will base the purchase on price (or added value).
 PROMOTIONS AND POINT OF PURCHASE 325

• Retailers are demanding more, and they are getting it. So in addition to
slotting allowances, retailers are demanding more generous account-specific
marketing programs that often include expensive sales promotion programs.

• Customers not only respond to promotions, they expect them.

Automakers would love to get out of the endless chain of rebates, dis¬
counts, and other incentives. But when one offers them, the others follow
suit until the whole industry suffers.

• Most promotions can’t stand alone. So the advertiser has to weigh the
short-term increase in sales against the cost of the incentive and the cost
to advertise it. Sometimes an advertiser will settle for break even, or even
a small loss if it means retaining a retail account or gaining market share.
For example, an automaker may offer very generous year-end deals just to
say they’re the number one seller in the rest of their advertising.

Types of Sales Promotions

Consumer sales promotions
With the exception of long-term PR tactics such as sponsorships, most
consumer sales promotion is considered to be non-franchise building.
Promotions are intended to jump-start sales and do almost nothing to build
brand image. Another purpose is to gather information (give us the data and
we’ll give you a prize). Either way, the ultimate goal is to stimulate action.
Examples of sales promotions include the following:

• Contests!games: The consumer actively participates in some way by writ¬

ing an essay, taking a quiz, or engaging in some other mental activity that
would not challenge a first grader’s intellect. In return for providing some
marketing data, you have a one-in-a-gazillion chance to win something.

• Sweepstakes: These involve chance more than contests do. Just enter and
you may already be a winner. Sometimes you don’t have to do anything
except wait for your prize. The laws governing contests and sweepstakes
vary from state to state. In mid-2004, Pepsi announced a chance to win
a billion dollars. Although no purchase was necessary, you can bet the
winner probably bought some Pepsi along the way.

• Product giveaways: Buy the product and you might get the next one free.
Fast-food restaurants and soft drinks use this quite a bit. You have to buy
something first, but you have a better chance of vanning.

• Samples: You can get them in the mail, in magazine inserts, or from little
old ladies in the supermarket. You can give away more than pills, perfumes,
and fabric softener sheets. A few years ago AOL gave away millions and
millions of CD-ROMs in every imaginable way.

• Coupons: Essentially these are little slips of paper that ensure a discount.
They are distributed in a number of ways: traditionally, in magazine and
newspaper ads; in freestanding inserts (FSI) in newspapers; in direct mail
packs (such as Val-Pak); and online, in a form that consumers print at home.
326 CHAPTER 15

• Discounts: These are temporary price reductions. Temporary is the key

word, because a permanent price reduction creates no urgency to buy.

• Bonus packs: The consumer gets more of a product at the regular price.
For example, detergent boxes may be bundled in a buy-one-get-one-free
promotion. Bonus packs provide more value to the consumer. However,
if the consumer is already a loyal customer, there is no incremental value
to the manufacturer.

• Rebates: Consumers are offered money back if they mail receipts and
packaging to the producer. This requires more effort, and the seller bets
that a large percentage of people will not bother. If they do, they have to
provide information for the seller’s database. Many times, prices listed
contain “after rebate” in the fine print.

• Premiums (merchandise): Instead of money back, the consumer gets stuff.

It can be as simple as the toy in a Happy Meal (marginally harder to digest
than the food) or as elaborate as thousands of dollars in water toys with
the purchase of a new boat. Premiums can also be intangible items, such
its frequent-flier points.

• Loyalty programs: These reward customers for continuing to purchase the

same brand of a product or service. Airline frequent-flier plans are the
most obvious form of loyalty program. But retailers such as grocers, dis¬
count stores, and electronics stores, where customers shop frequently, also
use loyalty programs. Many consumer packaged goods companies are also
developing frequency programs that award points for purchases. The
points can be redeemed for gifts, such as merchandise, or for discounts.

• Cross-promotion: Some products just seem to complement each other.

If so, they can work together to multiply their promotional dollars. For
example, a cookie company may offer coupons for milk. Other times the
lead brand in a promotional campaign will bring in partners. For example,
BMW’s test-drive program to raise money for breast cancer also included
Harmon Kardon and Michelin, which are used in BMW cars. In 2004,
Pepsi teamed with Apple to promote free iTunes with purchase of Pepsi.

• Product placement: Some companies specialize in placing their clients’

products on game shows as prizes. Others concentrate on getting their
clients into movies and TV shows. For example, in ET: The Extra
Terrestrial the hero was lured with Reese’s Pieces because M&M’s would
not pay for product placement. Short-term sales of Reese’s Pieces sky¬
rocketed. So when you see a character reach for a box of Cheerios, drink
a Coors, or drive a new Jaguar, it s no coincidence. Product placement
is negotiated with the producers and can run into hundreds of thou¬
sands of dollars. The blending of advertising and entertainment is so
pervasive, it’s created a new category of promotion called “Madison and
Vine.” Recent examples include what seemed like a nearly two-hour
infomercial for FedEx in the movie Castaway, promos for Donald
Trump’s various enterprises on The Apprentice, and sponsors’ products
used as rewards on Survivor. With more people tuning out traditional
30-second commercials, placement within programs ensures that viewers
see the products.
 PROMOTIONS AND POINT OF PURCHASE 327

15.1. How many brands can you cram into one promotion? This
sweepstakes combines Levi’s, JCPenney, The Apprentice, and
Donald Trump, who has done a great job of branding himself.

15.2. BMW’s Mountain Driving Tour targeted visitors at ski

resorts. The goal was to encourage test-drives. Think of the
incentive as a $50,000 product sample. Prospects filled out a
form (for BMW’s database) and were given the keys for a test-
drive as long as they wanted. The promotion was promoted
with outdoor displays, ads, radio, local concerts, and POP dis¬
plays in bars and restaurants.

15.3. Tango is a popular orange drink in the United Kingdom.

Their “Shout Down Non Drinkers” promotion targeted 15- to 24-
year-old males. The goal was to increase awareness and market
share. Tango drinkers were given a premium—a free telescopic
megaphone for shouting at people who don’t drink Tango. This
was supported with TV, radio, outdoor posters, and sandwich
boards on college campuses as well as the Tango package. If
anyone tried something like this in the United States, the
“shouters” would find a new place to put their megaphones.
328 CHAPTER 15

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15.4. The Internet is an ideal medium for interactive contests. Visitors can take as long as they want to participate, and the results
are immediate. This promotion for Chivas Regal was advertised in magazines and called out in banner ads on the Chivas Web site.

Almost all of the consumer promotion types described above need the
support of other forms of marketing communication (even the sample lady in
the supermarket has some kind of signage). All of the media we discuss in this
book, plus packaging and public relations, can be used to promote promotions.

Trade sales promotions

If you’re a manufacturer, how do you motivate your sales staff, move product
through distributors, and encourage retailers to stock your brands? Trade sales
promotion is used for business-to-business products and for wholesale transac¬
tions for consumer goods. Some trade sales promotions include the following:

• Financial incentives: Lower interest rates, reduced freight costs, price dis¬
counts, and extended payments can encourage retailers to stock up on prod¬
ucts. Some of these include slotting allowances to provide shelf space, buying
allowances to reduce the introductory price, and promotional allowances for
short-term promotions. These allowances are usually meant to be passed on *
to the consumer, but some retailers pocket the savings and charge full retail
prices, which does not help to move the product. To counter this, some
packaged goods companies have dropped their everyday prices and cut back
on trade allowances. Push money—also known as “spiffs”—can be an extra
commission paid to sales force, wholesaler, or retailer.

• Trade contests: Salespeople, wholesalers, and retailers receive rewards for

increasing their sales. The more you sell, the more you get. These often
involve travel incentives, such as a trip for two to Hawaii or tickets to a
major sporting event.
 PROMOTIONS AND POINT OF PURCHASE 329

• Sales support: The manufacture provides displays, posters, counter cards,

signage, and other point-of-sale items. Products sell better with attractive
displays, which are often accompanied by price deals. The manufacturer
may also provide special promotional literature for the dealer to hand out.

• Training programs: The manufacturer trains the distributor or dealer

employees in selling the product.

• Trade shows: Manufacturers display their products, salespeople meet and

greet potential customers, distributors and wholesalers check out new lines,
and everybody sees what the competition is up to. Trade shows can be small
regional events with nothing more than a few 10-by- 10-foot or major
extravaganzas such as the Consumer Electronics Show, which generates
worldwide coverage. Some manufacturers spend millions every year on
trade shows—for elaborate booths, celebrity talent, high-profile events,
extravagant banquets, contests, and handouts. Trade shows provide a lot of
opportunity for creative people. Dozens of details require creative planning:
the booth design itself; displays, posters, handout literature, event planning,
preshow promotion, and premium selection; audio and video displays; and
more. In a way, a trade-show booth is a campaign in itself, with components
that work individually and cumulatively to convey a single message.

• Cooperative advertising: Basically, the manufacturer helps the retailer pay

for advertising its products. Sometimes the ads are provided, and all the
retailer has to do is slap a logo and address on the bottom. In many cases,
the co-op ad is similar to the national brand advertising done by the
manufacturer. Other times, the manufacturer provides images and copy
that the retailer uses to build its own ads. If you ever have to produce
co-op ads, always keep the intended media in mind. For example, dont try
to convert an elaborate four-color magazine ad into a black-and-white co¬
op ad for a local newspaper.

Like consumer sales promotions, trade promotions usually have to be sup¬

ported with some form of marketing communication, usually print advertising,
direct mail, and the Internet.

Promotional Strategy and Tactics

Promotional strategy stems from marketing objectives. For example:

• Get 20% of Brand X users to try Brand Y within three months.

• Get 40% of current Brand Z users to increase purchases from 5 to 10

packages per month within six months.

• Expand distribution for Brand A from 40% to 80% in all X-Mart chain
stores within one year.

You need to first have a clear idea of what the client wants to accomplish before
you create a promotional program.
330 CHAPTER 15

15.5. In this contest for Sony salespeople called “Fuel Your Fantasy,” merchandise and
travel incentives were offered in return for increased sales. Sell more, get more. This
3-D direct mailer announced the promotion.

15.6. Trade shows, whether for business, consumers, or institutions, bring potential
customers directly to the sellers.
 PROMOTIONS AND POINT OF PURCHASE 331

ADVERTISING & SUPPORT

Well support Creamy Dark with outdoor and radio advertising as well as with a variety of eye-catching point-of-sale materials.

Outdoor:
Deliciously Dark. All Dark.
Surprisingly Smooth.
No Bite.
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Carton Co$t-$36.00 Carton Co$t—$12.50 Available from Bodies
800-255-72$?
Distributor Cost $59.95>4^se
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TV: To support our 52-week sponsorship of Joint GdlcsfSe's ftitierj & we’re continuing our television presence
with :50 andi 15 spots for Creamy Dark, Leinie’s Red lager, Honey Mfoiss, and Original.

Radio: Our strong radio presence continues with new spots in support of each brand end promotion.
These spots continue the fun, approachable tone we have in supporting our brands.

15.7. Promoting the promotion. It’s important to let your retail customers know you’re
supporting the brand. This beer company highlighted their advertising and sales
promotion program on the back of a sell sheet.

Components of the promotion

Assuming you know the client’s objectives, you need to follow these steps:

1. Think campaigns. If the promotion is part of a total campaign, make

sure your sales promotion will fit the way the product is positioned in the
market, the brand image, the target audience, and how it is sold.

2. Develop a promotional theme. It’s like a tagline. Use some of the guide¬
lines for taglines in Chapter 7. Ideally, your promotion theme ties into
the total campaign, as in Budweiser’s “True Music” summer promotion.

3. Consider the incentive. What will you offer that adds value to the prod¬
uct or service and encourages quick sales? As with the theme, you have to
consider the target audience and brand image. For example, a free trunk¬
ful of frozen pizzas may get a prospect into a Hyundai dealer but it prob¬
ably won’t motivate a potential Audi customer.

4. Promote the promotion. Once you have determined the theme and the
incentive, how do you let people know? Your promotion of the promo¬
tion also depends on the target audience and brand image. Using multi¬
ple media, such as the Internet and print, provides for more interaction
and greater involvement with the product.
 332 CHAPTER 15

15.8. Just a few examples of freestanding and countertop displays. The only limits are your budget and your imagination.

Tips and techniques for promotion

• Use a memorable theme.

• Relate to the product attributes (brand image).

• Keep it simple.

• Make the benefit (reward) clear.

 PROMOTIONS AND POINT OF PURCHASE 333

Point of Sale/Point of Purchase

It doesn’t matter what you call it—POS or POP—it refers to some kind of
display in the store that sells the featured product or service. The display can be
used to support a promotion, or it can be a more permanent reminder of a
brand, such as a neon beer sign.

Types of POP
• In-store posters

• Banners—indoor or outdoor

• Counter/shelf displays

• Freestanding displays/kiosks

• Signs (floors, shopping carts, shelves, shelf talkers, end caps, counter cards)

• Table tents/menu inserts

• Lighted signs/neon

• Interactive displays (computer)

• Motorized/video displays

Tips and techniques for POP

• Keep it simple.

• Relate to the product attributes (brand image).

• Use primary colors/bold graphics.

• Keep headlines and copy short.

• Use memorable themes.

Promotional Public Relations

A dedicated public relations practitioner would probably be outraged to see PR
relegated to a subhead in a discussion of promotions. We do not mean to dis¬
miss the value of public relations. In fact, we believe PR should be the founda¬
tion of most marketing communications plans. In this context, however, we will
discuss public relations in terms of creative strategy, with special emphasis on
how public relations can fit into a promotional campaign.

Good deeds get good press,

even if you have to buy it
One function of public relations is getting credit for the good things your com¬
pany does. So many promotional PR efforts concentrate on charitable acts. For
example, your promotion could be about donating money to research against
diseases such as breast cancer, supporting national parks, building local
334 CHAPTER 15

15.9. POP display used to promote Miller beer. (Until a few years ago, most beer
companies avoided association with motor vehicles. As you can see, those concerns
don’t apply anymore.)

playgrounds, and cleaning up river walks. In addition to doing the good deed,
you need to promote it through publicity releases and editorial contacts as well '
as traditional and nontraditional media.

Event Marketing
and Sponsorships
Event marketing and sponsorships are specialized forms of promotion that
link a company or brand to a specific event or a themed activity. Event
 PROMOTIONS AND POINT OF PURCHASE 335

15.10. Ford Motor Company said they were passionate about preserving the beauty of our national parks. So they retrofitted some
old buses with clean-burning propane fuel systems. Then they promoted that good deed using public relations and print advertising.

marketing and sponsorship are sort of like public relations because they can be
long-term goodwill efforts that can enhance brand image. Marketers often
participate in event marketing by associating their product with a popular
activity such as a sporting event, concert, fair, or festival. In event sponsorship,
a company develops sponsorship relations with a particular event and provides
financial support in return for the right to display a brand name, logo, or
advertising message and be identified as a sponsor of the event.2 Examples
include the following:

• Corona Beer presents Jimmy Buffett in concert

• The Nextel Cup NASCAR series

• The Rose Bowl presented by AT&T

• The Virginia Slims Tennis Tournament

336 CHAPTER 15

THERE’S BEEN A LOT homework.” She smiles at a nearby eight- support we give to the Foundation more kids

OF TALK about the year-old. "And who can blame them? Some of like Jawan will be able to experience our fragile

environment lately. But them, like Jawan here, had never even seen a environment first hand. And hopefully start

out on Chesapeake Bay, live fish before.” playing an active part in preserving it.

sailing around on a vintage That’s where the Chesapeake Bay Foundation Is the program working? “These kids are

skipjack, a group of school kids stepped in. Since 1966, when it started in organizing neighborhood recycling drives.

are learning that when it comes to Annapolis, Maryland, with a rented fishing

the environment, actions speak trawler and little else, the Foundation has taken

louder than words. more than 300,000 students out into the

Myrtha Allen, Environmental Bay to experience the environment first hand.

Sciences teacher at P.S. 405, And at the same time making them aware of how

Baltimore, explains, “Most of my important their contribution is to the future

kids are city born and bred. They of the planet.

live in apartments, they get their Myrtha puts it simply. “To get these kids

milk in cartons, their eggs in wanting to clean up the world, we’ve got to get

those styrofoam containers. They their hands dirty." they’re writing letters to Senators. Take a look at

were about as interested in the And they do. They get very dirty. these posters some of my students have been

environment as they are in “Oh yeah," chuckles Myrtha, “we do it all. doing."

Once we threw a net in just to see what we’d get. The classroom walls are alive with crayon and

When we pulled it tip, sure enough there were pencil. Bright orange crabs. Smiling oysters.

the milk cartons, the soda cans, the egg Families of ducks.

containers. And flapping around in the middle of And one poster that stops everyone. It’s of a

it all was this big, cranky striped bass. You smiling little boy holding hands with a big striped

should’ve seen their faces. bass. And boldly scrawled above both their heads

“We took 20 little consumers out on a boat is one word: “Brothers".

that day. We came back with 20 budding And it’s signed by Jawan. Age eight.

environmentalists.”
TOYOTA
At. Toyota, we’re proud that through the INVESTING IN THE INDIVIDUAL

15.11. Toyota wanted everyone to know they donated to the Chesapeake Bay Foundation, a group dedicated to educating kids about
cleaning up the bay.

Event marketing has become very popular in recent years for several reasons:

• It creates experiences for consumers and associates a company’s brand

with certain lifestyles and activities.

• It provides opportunities to distribute samples as well as information

about a marketer s product or service or to let consumers actually expert- ,
ence the product.

• It gives marketers access to large numbers of consumers at a relatively low

cost and can be an effective part of a grassroots marketing program.3

Promotion in IMC
All through this chapter we’ve stressed that promotions can’t exist in a vacuum.
Sales promotion techniques usually work best when used in conjunction with
 PROMOTIONS AND POINT OF PURCHASE 337

15.12. NASCAR: the hottest sports marketing venue today. The cars are moving
billboards watched by 150,000 fans at the track and millions more at home. Plus the
sponsors tie in national and local promotions with each race. The drivers become
spokespersons for the brands.

advertising. Conversely, a consumer sales promotion program can enhance the

effectiveness of an ad campaign. When properly planned and executed to work
together, sales promotion and advertising can provide a synergistic effect that is
much greater than the response that would be generated from either promotional
element used alone. Proper integration of advertising and sales promotion
requires the coordination of several decision areas:

• Budget allocation

• Coordination of advertising and promotion themes

• Media support and timing4

Guerrilla marketing
The behind-the-scenes maneuvering reflects an axiom of
21st-century advertising. In this cluttered marketing
environment, simply buying TV time isn’t enough.5 In
the 1980s, the term guerrilla marketing came to repre¬
“[Guerrilla marketing] requires
sent a number of nontraditional MarCom tactics used to
gain awareness without spending a lot of money (at least that everyone who deals with
not as much as for traditional TV advertising). The cur¬ your customers remember the
rent campaign for Aflac is a prime example. Their duck Golden Rule for Guerrillas:
icon is supported with a relatively modest $45 million ad
ALWAYS TRY TO THINK LIKE
budget. But the behind-the-scenes effort multiplies the
impact. In four years, awareness of the company has
YOUR CUSTOMER."
grown from 12% to more than 90%. The following —Jay Conrad Levinson6
blurb from the Wall Street Journal describes how it
works: “Creating a breakout ad character is in some
measure a matter of luck and circumstances, but Aflac
338 CHAPTER 15

"Just do it”—but this damaged Nike somewhat. Nike eventually saw

Not on T-Shirts its folly and cut way back and even introduced a

Through his leadership at Nike and Starbucks, Scott swooshless logo for a time. Back in August 1988,

Bedbury redefined the “consumer brand relationship.” He when Nike launched “Just do it,” some people

told us some of the pitfalls of overpromoting a brand: started creating pencils, pouches—all kinds of
school supplies and even drink stir sticks with “Just
Around 1996 when the Nike brand was white hot, do it” on them. Did it belong on that? I had to
the company went through a “swooshification of impale myself on the project and stop it. We knew
planet earth” phase in which Nike lost some brand “Just do it” was good but we didn’t know how long
discipline. It seemed that the more Nike swooshes it would last. We had to refrain from tacking it on
on something, the better. Big, garish swooshes everything—it was just wrong for the brand, no
everywhere on shoes and apparel. Up to that point matter how much money it would make. These
we had always been restrained and subtle with our sorts of decisions have enabled that campaign to
trademark, careful about oversaturation. It was a survive for almost two decades.
critically valuable, irreplaceable brand asset. I think

lowered its odds considerably by supplementing its TV ads with a well-orches¬

trated, behind-the-scenes guerrilla public- relations campaign. Instead of simply
buying lots of TV ads, a team of four ad and marketing executives are focused
on getting the duck on TV at no cost to Aflac.”7 Some of their actions have
included handing out plush duck toys to people on the outdoor set of The Today
Show, sponsoring a water tank for synchronized swimmers on David Letterman’s
show, getting coverage on CNBC (which ran the commercials for free as part of
a news story), and lobbying consumers to vote for the duck in a Yahoo/USA
Today poll on favorite ad icons.
Now that advertising costs are on the rise again, and clients are looking to
get more for their dollar, it makes sense to consider innovative ways to outsmart
the competition rather than outspend them.

Who’s Who?
Jay Conrad Levinson—Jay Conrad Levinson is the author of a wildly successful
series of books about “guerrilla marketing” tactics. He cites many examples of
unconventional marketing and communications programs that generated spec¬
tacular results. Typically, these guerrilla tactics use existing marketing commu¬
nication tools, such as direct mail or outdoor, but in highly targeted, very
creative ways.
 PROMOTIONS AND POINT OF PURCHASE 339

Notes
1 George E. Belch and Michael A. Belch, “Sales Promotion,” in Advertising and Promotion:
An Integrated Marketing Perspective, 6th ed. (New York: McGraw-Hill, 2003), 510-61.

2 Ibid.

3 Ibid.

4 Ibid.

5 “Aflac Duck’s Paddle to Stardom: Creativity on the Cheap,” Wall Street Journal, July 30,
2004, Bl.

6 Jay Conrad Levinson, Guerrilla Marketing Attack (Boston: Houghton Mifflin, 1989), 146.

7 “Aflac Duck’s Paddle to Stardom: Creativity on the Cheap,” Wall Street Journal, July 30,
2004, Bl.
V

N
 Business-to
Business
S ome beginning copywriters dread business-to-business (B2B)
assignments. The products aren’t fun. The target audience is deadly
serious. You’re mostly stuck with trade magazines and collateral
pieces. And worst of all, nobody will see your ad except a few thousand industrial
buyers. In two words: bor—ing.
Many creative directors tell their young
writers, “There are no boring products, only
boring advertising.” But many times, you
don’t know enough about a product to make it
interesting. Too often even the clients don’t
know why anyone should buy their products.
So they settle for a sterile recitation of facts
and figures. While it doesn’t take a rocket sci¬
entist to figure out beer, soap, or toilet paper,
you have to know something about your "I don't know who you are.

I don't know your company.

subject when you’re writing business advertis¬
I don't know your company's product.

ing. Sometimes you have to know more about I don't know what your company stands for.

I don't know your company's customers.

the market, the customers, and the product
I don't know your company's record.

than the client does. However, many business- I don't know your company's reputation.

Now-what was it you wanted to sell me?"

to-business marketers don’t see the need for an
account planner or even primary research. Too
many think, “Who knows the market and cus¬
tomer better than me? So don’t give me all that
phony baloney about branding, image, reso¬
nance, and the like. We make a good product.
Just let people know where to get it.” MORAL: Sales start before your salesman calls-with business publication advertising.

Another creative drawback of B2B has been McGRAW-HILL MAGAZINES

8USINESS • PROFESSIONAL • 7 ECH NICAL

the rigid formulas dictated by so many old-school

ad managers. Although it’s taken a while, business 16.1. This McGraw-Hill classic makes the case for
advertising has finally broken a lot of the old rules business publications. The little man in the chair has
that handcuffed creatives. As Jim Albright notes: long since retired, but his message is even more
“It took business-to-business writers a long time appropriate today.
to figure out that the purchasing agent who reads

341
342 CHAPTER 16

Purchasing Weekly during the day also reads Time at night

and watches TV. Once that thought took hold, business-to-
WORDS OF WISDOM business advertising took its place as a creative area of adver¬
tising that looks up to no one.”1
"It’s ... likely your trade While writing good B2B copy can be a challenge, it
assignment will have a also presents a great opportunity, especially for entry-level
cleaner playing field than a writers. Rather than being stuck with a small piece of the
account, you’re more likely to work on a whole campaign.
mass-market ad. There’s a
You might be able to work out a whole integrated plan
built-in villain: the other
that uses a lot of fun promotional and Web components
guy’s product.” in addition to print ads and collateral. You can probably
—Luke Sullivan2 work in some cool guerrilla marketing ideas. Some clients
love that, since they think they’re getting more for their
money. In Hey Whipple, Squeeze This, Luke Sullivan
praises B2B ads: “Trade ads are just as important to your client’s economy as its
consumer work, and they’re usually a better gig than a consumer campaign.”3

Why B2B Is Different

• The customer is buying products with his or her company’s money.

• Traditionally, the copy has been more factual and less emotional than
what’s usually found in consumer advertising.

• In general, the emphasis is on generating immediate response rather than

on long-term brand building.

• Ad budgets are usually much smaller than with mass-appeal consumer

products, restricting many creative options.

• Most business products are not sold retail, which means they are either
sold direct to buyers or through dealers or distributors.

Why B2B Is the Same

• Business customers still have wants and needs—saving money, success,
self-esteem. Sure, they want facts, but ultimately it’s about making more
money and feeling good about it.

• The copy and design principles discussed in previous chapters apply to busi¬
ness readers, maybe even more than they do with some consumer products.

• The Internet is just as important, and in some cases even more important, *
as a communication source and as part of an Integrated Marketing
Communications campaign.

• Branding for business products and services is becoming hugely impor¬

tant, especially as companies merge and change affiliations. Sometimes
the brand name is the only constant.

• Even though the numbers of business customers may be smaller, using

traditional mass media such as television, radio, outdoor, and newspapers
may be an effective way to reach them.

• Companies do not buy products and services. People do.

 BUSINESS-TO-BUSINESS 343

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tor packaging. For more
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products call 800-524-2110.

16.2. The main message is the headline. The 16.3. This insert was printed on a piece of sand¬
supporting facts are between the lines. paper, so it not only got a lot of attention, it was
also a great product sample.

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JOHNSONVILLE SAUSAGES. MADE
WITH A SECRET BLEND OF HERBS,
SPICES AND WIRELESSTECHNOLOGY.
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Cisco Systems

MIRRRfflRr Westin
HOrtLS S. RESORTS-

westin.com

16.5. Westin wants to attract women business

16.4. This tasty ad is actually a testimonial for Cisco
travelers (and by the looks of this visual, we
Systems wireless technology.
think a few businessmen too).
344 CHAPTER 16

The read back began at dawn.

<SM’t cufevre of cyualky started wrth a

literal wake-up calf. !n a series of

THIRTY YEARS AGO, GM QUALITY WAS THE 3EST merKMitoiy six a.«i. meeting*. the- gospel

IN THE WORLD. TWE NTY YEARS AGO, fT WASN'T

was spread throughouT tha com&ary.
Ten very painKii but very productive
THE STORY Of OUR LONG JOURNEY BACK.
years l*?et GM is now delivering:

• industry leading *m**si©n« control,

using the iea« *m«sunt of precious r<v«afe.

• More ratum ojiTwro", than any other

GM presents sr» overnight success story, a decade in
car manufeeturer ir» the world
the reeking.
• The top two aijtorrwtive asserrfc^ plants
Ten years ago, we had a choice. We could keep looking
in the rearview mirror, or out at the road ahead in NortlVSojdi Arwna m the J O Power
It was the eastest decision we ever made. ard Assocatet 'rvual Ovality Study"'-'
The hard part meant breaking out of our own bureaucratic
gridlock. Learning some humbling lessons from our competitors.
• 149 automotive awards »n 2002
And instilling a true culture of quality in every division,
in ©very department, in every corner of the company.
Today, with quality st the core of our values, we're
building the best cars and trucks in our history, GM *s now
challenging the automotive world in fuel efficiency,
advanced emissions controls, styling and design, and
manufacturing productivity.
It didn't start yesterday. And it doesn't happen overnight.
But last year we launched over twenty new models on the
way to posting our second straight year of market share
gains. And a whole lot of you rediscovered that an American
car con be a great car,
The mad to redemption has no finish line. 8ut it does
have a corner.
And it’s fair to say we've turned it. Cemtjs tfej wimw Elegante a«d movrie
« .ft exrwiara&ng Cadflae XL*,*
HOW SIX CYLINDERS DELIVER THE POWER OF A V9
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weight We packed both power efficiency of a t*c«<s»«.

The latest news, reviews and a glimpse of the road ahead See u all »t www.gm.com/story.

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16.6. Publicly held corporations spend a lot of money trying to polish their image. Corporate image ads reassure investors, vendors,
customers, and employees that a company is in good financial shape—or a least on the right path to recovery. In this ad, GM took
the bold step of admitting their cars used to be lousy, but, of course, now they’re great.

Don’t Forget Those

Wants and Needs
A salesperson who just got rejected by a heartless purchasing agent may disagree,
but business buyers are human. They may use economic rationales, but they still
have wants and needs similar- to those of other consumers. For example:

• An office manager responds to a direct mailer from an office supply store

that offers free delivery. This saves her time, so she can get more work
done; she can save her company money, which makes her look good to the
boss, which might mean she gets a raise. All of which satisfies her needs.

• A factory manager sees an ad for a robot that stacks boxes on pallets in

minutes, saving valuable time and labor. This will save his company a lot
of money, making him look good, which may mean a promotion and
more money. (Starting to see a pattern?)
 BUSINESS-TO-BUSINESS 345

• A doctor reads a brochure, sees a medical journal ad, and checks a Web
site for a new blood-thinning drug. She gets more information from a
sales rep, including research reports. She prescribes the drug, not because
she’ll make more money, but because her need is to help her patients.
Sometimes business is about more than making money.

Agricultural Advertising:
It’s Another Animal
Some of the hottest creative shops have taken on ag clients and won a ton of
awards. Not only shops in the Midwest, but some of the leading agencies in
California, New York, and Virginia. Someday you just might work on an ag
account, so here are a few tips:

• Successful farmers are college-educated businesspeople and should be

treated as such, not as bib-overall-wearing hicks. Appeal to their business
sense, not to the nostalgia of a small family farm that disappeared
years ago.

• Farmers are extremely sensitive to detail and very concerned about being
up-to-date. Show a 10-year-old tractor, CRT computer monitor, or out-
of-date satellite dish in your ad and you’ve killed your sales message.

• You can have fun with the product, but never mock the farmer’s country,
profession, or lifestyle.

• Be careful with claims. If anyone recognizes BS, it’s a farmer.

Business-to-Business
and Campaigns
Many B2B marketers have discovered that magazines may not be the primary
method to reach their customers. Using Integrated Marketing Communications
for B2B makes sense because customers are easier to define and locate. All the
IMC components listed in Chapter 2 apply to business-to-business. Because
the number of key customers is sometimes very small, you may be able to cre¬
ate expensive high-impact communication tools that generate higher response
rates. As with consumer advertising, you need to think of how many different
ways you can reach a customer. Do you go for a few high-impact “rifle shots”
or use a lot of different marketing tools? Here are some examples:

• A Japanese engine manufacturer wanted potential customers to recognize

their commitment to the U.S. market. So they sent a large box to the
nation’s top industrial engine buyers. On the box lid was the slogan, “Take
346 CHAPTER 16

a Power Trip.” Inside was a high-quality garment bag embroidered with

the company logo. In the pocket of the bag were vouchers for two plane
tickets to the company’s North American headquarters in California. Also
enclosed were a cover letter from the U.S. general manager, product liter¬
ature, and a corporate brochure. Each mailing cost about $200, but when
compared to millions of dollars in engine sales, it was very economical.
Just as important, salespeople from the engine company called potential
customers after the big boxes arrived. You can be sure the prospects
remembered the mailer, which made it much easier for the sales force.

• A manufacturer of construction equipment launched a new line of telescopic

material handlers. They used print ads but also produced a series of sell
sheets, full-line brochures, head-to-head comparisons with other brands, a
walk-around guide to help salespeople sell the machine, a feature/benefit
video, an operational video showing applications and attachments, an
interactive multimedia program to show potential customers, a co-op
advertising kit, a dealer sales kit, a point-of-sale displays for dealers, a
complete trade PR program on CD-ROM, and oversize posters and
motorized displays for trade shows. The company’s dealers had the tools
they needed to sell to their contractor customers, who were also very
familiar with the new products after seeing the ads and direct mailers.

16.7. This manufacturer wanted customers to know that comparing their dealer-
installed controls to mass-merchandised products was like comparing apples to
oranges. They promoted the message through a series of trade magazine ads and a
direct mail campaign. The final mailing was a box of ripe apples. They also handed out
apples at a trade show and used the apple/orange theme in their trade-show booth.
 BUSINESS-TO-BUSINESS 347

• A marketer of veterinary products launched a line of products to help vets

treat ear problems in dogs. They produced a magazine insert that folded
out to form a poster for the vet’s exam rooms. They ran spread and single¬
page ads in professional journals. The company offered audiocassettes
about building a clinics business by using these new products. A direct
mail kit included a 100-page technical guide. They provided handouts for
clinic customers and even ran ads in consumer publications to encourage
dog owners to visit their vets.

Here’s one way to sum up the use of IMC for business-to-business

campaigns: Imagine that in order to get a sale, you have to open a big iron door.
Run a few magazine ads, and you’re throwing pebbles at that door. Use all the
integrated marketing tools at your disposal, and you’ve got a big boulder that’ll
knock that door wide open.

Collateral
Collateral is a big catchall category that includes printed material used for
personal selling, handouts, and sometimes direct mail. The materials can be as
elaborate as a coffee-table book featuring the illustrated history of a company or
as cheesy as a black-and-white single-page flyer stuck under your windshield.
Collateral includes, but is not limited to, the following items:

• Product brochures

• Corporate image brochures

• Catalogs

• Sell sheets

• Capabilities brochures

• Personal selling kits

• Trade-show handouts

• Annual and quarterly reports

While virtually every consumer product uses some kind of collateral, much
of it is done by a design firm or collateral agency other than the agency of record.
However, in most cases, business-to-business collateral is often integrated into a
total communication program developed by one agency or design firm.
When you’re writing collateral pieces, especially multipage brochures or a
series of pieces, keep the following tips in mind:

• Have a theme and carry that theme throughout the brochure, whether it’s
a graphic or text theme (or both).

• Think of the brochure as a campaign—each major element has to work

by itself and collectively with other parts of the brochure.
 348 CHAPTER 16

• Appeal to wants and needs of the readers. To do this you have to know and
understand the intended target audience.

• Think visually. Even technical pieces need good, attention-getting graphics.

• Pay attention to typography, especially for copy-intensive pieces.

• Stretch your thinking. Consider gatefold, pockets, inserts, die cuts, win¬
dows, and other creative devices to liven up the design.

• When penciling out a design, don’t forget that in most cases you have to
think in terms of four-page units (unless you have one or more gatefold pages).

There are no other rules for collateral, except following good design and
copywriting practices. Other than budget, there are no restrictions on paper
stock, number of colors, binding technique, or paper size.
Many businesses have drastically cut back on printed literature. Instead, they
put their literature on their Web sites as PDF documents so customers can
download them. This not only saves a lot of money in printing costs, but there’s
no inventory and you can make changes whenever you want. If printing quality

Soothe the savage beast.

Panolog Cream\feterinary
Nystatin/Neomycin Sulfate/Thiostrepton/Triamcinolone Acetonide Cream

16.8. B2B collateral can be a product brochure, like this veterinary 16.9. Corporate capabilities brochures show companies in their
pharmaceutical product. best light.
 BUSINESS-TO-BUSINESS 349

16.10. By law, annual reports have to report the numbers, but everything
else is open to creative license.

is not an issue and you don’t need a salesperson to walk a prospect through the
literature, it makes a lot of sense.
Another trend is the bundling of interactive programs with product litera¬
ture. For example, we had a client who was selling very comprehensive manage¬
ment software. Rather than printing a 20-pager showing all the screens and
reports, we produced a mini-CD-ROM with an interactive product demo. This
was inserted in a pocket of a simple 6-pager. The CD could also be used for
handouts, personal selling, and direct mail, as well as integrated into the client’s
Web site and other interactive programs.

“Nontraditional” Has
Gone Mainstream
Internet for business
Many B2B clients adopted the Internet long before consumer brands did.
Whether it’s used strictly for information or for direct selling, the Internet
provides B2B marketers with tremendous advantages over “traditional” media,
including the following:
 350 CHAPTER 16

• Provides more detailed information than you can fit in an ad.

• Shows streaming video, animation, and interactive media.

• Includes links to co-op partners and/or affiliated companies.

• Provides updated product information that can be downloaded.

• Delivers company news; announces new promotions and special offers.

• Sets up merchant accounts for direct sales.

• Identifies dealers, shows their locations, and provides links to their sites.

• Tracks inquiries, builds databases, and establishes customer relationship

management programs.

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16.11. This award-winning interactive program lets dairy farmers take a virtual tour of several high-tech milking parlors with
360-degree movies, interactive product demos, literature downloads, video clips, animated fly-throughs, and farmer testimonials. It
was credited with selling $5 million worth of parlors in just three months.
 BUSINESS-TO-BUSINESS 351

Interactive
You can’t show animation in a magazine. You can’t get a video into a brochure.
Or can you? With new innovations in interactive technology, you can put
virtually any image, still or motion, on a CD-ROM or DVD and insert it into
a publication. Or mail it. Or hand it out at a trade show. The only limits are
your imagination, your budget, and disc space. But with 4.7GB available on a
DVD, you have a lot of room for creativity.

Fast Talking and Fast Thinking circumstances where the client and the agency

for Business Advertising were really with it.”

In “Fast Talker” and others, viewers connected
When Ally & Gargano took over the Federal Express
with irreverent office workers, laughing not at
account in 1974, the package carrier was struggling to
them, but with them. “It was a decidedly new tactic
differentiate itself from bigger firms like UPS. At that
in business communications,” said Mike Tesch. “It
time, very few consumers used overnight package
took guts in those days to laugh at yourself,” he
services. The primary audience was businesspeople. The
said. Nonetheless, viewers responded favorably,
agency developed one of the great taglines of all time,
relating to the ludicrous situations time and time
“When it absolutely, positively has to be there overnight.”
again. “It wasn’t just humor. It was comedy.”4
The One Thing: Federal Express is fast. Now, how do you
show it?

The creative team of Patrick Kelly and Mike Tesch

found their answer while watching a guy billed as
the “World’s Fastest-Talking Man” on a TV show.
They paired the fast-talking character actor John
Moschitta with director Joe Sedelmaier to create a
series of very funny and hugely successful com¬
mercials. Sedelmaier described how it worked:
“There is no time to build character in a commer¬
cial so you have to find characters.” Back then 16.12. The “Fast Talker” was one of 80 FedEx commercials

comedy was put down in business advertising. It directed by Joe Sedelmaier. Ally & Gargano took on FedEx
in 1974 with an ad budget of less than $400,000. By 1987,
was thought that it really didn’t work. “People
when the agency lost the account, FedEx was a household
would remember the jokes but not the product,”
name billing $20-25 million.5
Sedelmaier said. “We had one of those fortunate
352 CHAPTER 16

Business broadcast
When business advertisers finally realized their customers listen to the radio on
the ride home and watch TV at night, they started using consumer tactics to
reach business buyers. If you’re selling goods or services that can be used by a
wide assortment of businesses, broadcast makes sense.

Business video
When broadcast doesn’t make sense, or you need more time to tell your story,
video is the answer. Whether it’s packaged in VHS or DVD or included as part
of an interactive CD-ROM, video is a proven business-to-business medium.
Even if the product doesn’t move or a service can’t be pictured, you can show
testimonials of satisfied customers.

Other Business IMC Opportunities

i.
Many business-to-business accounts have small budgets compared to consumer
products. However, for the creative team, that can provide a lot more opportu¬
nity, since they may be responsible for most, if not all, of the campaign. When
this happens, the creative team can develop marketing communications tools that
are truly integrated. From a creative standpoint, you can have a lot of fun with:

• Sponsored events

• Sports marketing

• Sales promotions

• Contests, sweepstakes

• Trade-show booth design

• Sales meetings

• Specialty advertising

• Cross-promotion with consumer brands

Where to Find
the Best B2B Advertising
The Business Marketing Association sponsors local and national competitions
covering all facets of business marketing communication. The association’s Pro-
Comm Awards recognize the years best work. You’ll also find some great B2B
ads in the Communication Arts Advertising Annual. For agricultural advertising,
the year’s best work is honored with the National AgriMarketing Association’s
NAMA awards. Other specialty markets also honor the best advertising within
their categories.
 BUSINESS-TO-BUSINESS 353

16.13. How do you show something as obscure and technical as financial data processing services? Forget the technology and
concentrate on listening to customers.

Who’s Who?
Joe Sedelmaier—A successful Chicago-based art director-producer, Joe
Sedelmaier opened a film production studio in 1967 and began developing
clutter-cracking commercials that featured offbeat, one-of-a-kind nonactors.
Sedelmaier’s zaniness was evident in his work for Wendy’s (“Where’s the Beef? )
and Federal Express (“Fast Talker”), creating public and industry cutting-edge
“buzz.”6 Although he became a hot director for many well-known consumer
brands, Sedelmaier’s early work included business-to-business clients, such as a
chain of office furniture stores.

Notes
1 Jim Albright, Creating the Advertising Message (Mountain View, CA: Mayfield, 1992), 232.

2 Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (New York: John

Wiley, 1998), 83.

354 CHAPTER 16

3 Luke Sullivan, Hey Whipple, Squeeze This: A Guide to Creating Great Ads (New York: John
Wiley, 1998), 83.

4 See Judy Warner, “Best Spots: Hill, Holliday John Hancock,” AdWeek, November 9, 1998,
http://www.adweek.com/aw/creative/top20_20years/top20_10.jsp (accessed July 11, 2005).

5 Ibid.

6 “Joe Sedelmaier,” in “Top 100 People of the Century,” Advertising Age, March 29, 1999,
http://www.adage.com/century/people/people063.html (accessed July 11, 2005).
 Selling It

I n Chapter 1, we said one of the copywriter’s roles is selling his or her ideas
to the client. You could opt to just slide your ideas under the client’s door
and run away, hoping the client will like them. However, in selling your
ideas, you’re also selling yourself, ensuring gainful employment, and building
some very valuable self-esteem.

Presentations
People learn a fear of public speaking in kindergarten. Most people, even gifted
public speakers, never get over that naked fear of standing in front of an audi¬
ence. The difference is that gifted public speakers have the ability to channel that
fear into positive energy.

DILBERT
By Scott Adorns

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 356 CHAPTER 17

At the risk of sounding like an ad for Toastmasters: The ability to present

your ideas in public is a skill you’ll use all your life, whether you’re an advertising
executive or just offering a toast at a wedding. While you may dread presenting
your work to your peers or outside reviewers, the presentation can be the fun
part of a creative effort.

The new-business pitch

Here are some tips offered to students competing in the National Student
Advertising Competition sponsored each year by the American Advertising
Federation. While they apply to a high-level formal new-business pitch, most of
the tips work for informal presentations as well.

• Your insight of the target audience will drive your presentation. It’s very
simple—who are you talking to/what will you tell them/how will you
deliver the message/how do you know it will work?

• Dprit memorize. Know your material and speak from the heart, not
from memory.

• Know what you’re saying. Don’t read from note cards. If you need note
cards, sneak a peek before you begin speaking, but don’t have them in
your hand when you’re talking.

• Its possible to be professional and look as if you’re having fun. You should
not be deadly earnest or too flippant. It’s easier to tone down an over-the-
top presentation than to punch up a boring one.

• Don’t be a slave to your graphics. PowerPoint slides or Flash programs

should highlight your verbal presentation, not replace it. Don’t read from
your slides. Don’t have so much copy that your audience won’t want to
read the slides. If you have a lot to say, use more slides.

Start with an idea. Tell how that idea relates to your recommendations,
keep using that idea throughout your presentation, and come back to it
at the end. Tell ’em what you’re gonna tell ’em, sell ’em, then tell ’em what
you told ’em.

* tfyou kave & theme, use it early and often. Weave it

WORDS OF WISDOM through your presentation.

"Learn how to present. • Eye contact is important. Use “eye bursts,” where you
Ifue seen great ideas slip look at an individual audience member for two to
three seconds at a time. Find the “head nodders”— k

between the cracks just

people who are listening and agreeing with you.
because they were poorly (These should be your nonpresenting teammates.)
presented. If you have a flair They’ll give you confidence.
for the dramatic, use it. If • If y°u use a stunt or a gimmick, make sure it fits. It
you dorTt, get one.” should complement your theme and recommenda¬
tions. Don’t use a gimmick just to be different.
—Phil Dusenberry1

• Get technical help. If you’re not confident of your

technical ability, make sure you have someone who is
an expert at setting up the equipment.
 SELLING IT 357

Aim for a tone that’s “cocky but humble. ” In other

words, be confident and enthusiastic, but also self-
effacing when necessary. Don’t come across as a
know-it-all. Refer to your research as the basis for
"At the end of a presentation,
your opinions rather than your superior intelli¬
gence. Don’t be afraid to use a little humor, if it can it’s not your brilliant strategy
be naturally worked into the presentation. Don’t or clever ideas that win the
tell “jokes” or make your humor seemed forced. business. It really depends on
Remember, the first minutes of your presentation whether the client thinks
are critical. This is when you set the tone of your you’re the kind of people they
presentation. The introduction grabs attention. It
want to hang around with.”
should instantly engage the audience.
—John Melamed2
Don’t apologize for poor-quality visuals, video,
audio, etc. (Why present poor quality in the first
place?) Don’t say, “You probably can’t tell from
this layout,” or “I’m not a good artist, so bear
with me” or any other admission of poor quality. All the reviewers will
hear is that you didn’t care enough to give it your best effort.
• Practice. Practice. Practice. You may be sick of your presentation, but the
audience is seeing it for the first time. Their enthusiastic reception will
make all your hard work worthwhile.
• Ask for the business. You’re not there to just entertain them.

When presenting as a team

In many ways, your team is also a campaign. You must be strong presenters as
individuals, but you should also have a cumulative effect. Your transitions from
presenter to presenter should be seamless. You should appear as a cohesive team,
with members who all like each other (or at least give that appearance). If you
like each other, chances are the audience will like you.

• Trust your teammates. Support them. Have faith in each other’s abilities.
Then you can concentrate on your part of the show.
• Don’t be afraid to interact. A total team approach is much more effective
than four or five individuals making separate presentations.
• Practice with the nonpresenting members of your team as surrogate review¬
ers or clients. Have them critique your presentation—watching for eye con¬
tact, hand movement, entry and exit, voice inflections, presentations of
visuals, and other parts of your presentation that you can’t see from the stage.

Distinctive presentations
You have to find the right blend of entertainment and serious business informa¬
tion. Here are some methods others have used to open up their presentations:

• Ask a question. One winning presentation opened with, “Your house

is burning down. Your family is safe, but you only have time to get one
possession from your house. What would it be?” Or more generically,
“What’s the most important thing in your life?”
358 CHAPTER 17

• Start with a video. If you use a video, it should be short and crisply
edited, with a clear message. Remember, this sets the tone for the
whole presentation.

• Make a series of statements. Each team member states an opinion, or a

misconception, about the client or its products. Follow with, “That’s what
people told us . . . and this is how we plan to change their minds.”

• Describe your target audience. A day in the life. “Let me introduce you
to . . . (name of people).” Or some other compelling way to draw the
audience in.

Handling Q&A
Sometimes the outcome of a presentation depends more on how you defend
your work than on the quality of the work itself. Here are a few tips for dealing
with questions.

How you answer is just as

important as what you say
• Treat each question as an opportunity, not as a criticism of your effort.
Sometimes reviewers just want to see how you defend your work. If you
get too defensive, vague, or impatient, your attitude may turn them off.
(They are much more sensitive to this than you may realize.)

• Answer the question! You should be able to explain calmly and confi¬
dently why you did what you did. Don’t be a politician. (If you can’t
defend what you did, then you made the wrong decisions.)

• Pay attention to your tone of voice. Just like your physical motions, your
tone of voice says a lot about you. Be sure to answer questions in a strong,
consistent tone. Don’t act offended, impatient, or flustered.

• Avoid wavering or talking too softly, mumbling, or speaking too quickly.

Thinking on your feet

• A good thing to remember before answering a question is to take a deep
breath, think for a second, and then begin to answer. This will help you
calm your nerves and will give you the opportunity to “look before you
leap” when it comes to answering important questions.

• Repeat the question or ask the client or reviewer to clarify a part of it. This
gives you and your teammates more time to think about an answer.

• If you start an answer, finish it! Don’t taper off and leave a question unan¬
swered. Your teammates will instinctively jump in to finish your sentence
and try to bail you out.
 SELLING IT 359

• Even if a question conies out of left field, don’t act surprised. It may
seem very logical to the reviewer. For example, if someone asks you why
you didn’t do something, you could say, “We looked into that, but our
research indicated that some other approaches would work better” or “We
studied a lot of ways to do this and found this was the most cost-efficient
way to achieve our objectives.”

• Don’t say, “That’s a good question,” because it’s code for “We never
thought of that and don’t have the answer.”

• Don’t change the subject and give an off-target answer. Think for a
second, then answer the question to the best of your ability. If
you sense the reviewer is not satisfied, simply ask, “Did I answer
your question?”

• Don’t argue, but don’t automatically cave in. You had reasons for making
these decisions. The reviewers don’t necessarily disagree, but they want to
see how you defend your work.

Anticipate questions
• You are so close to your work that it’s hard for you to understand why
someone doesn’t get it. Think about the early phases of your planning.
What questions did you ask yourselves? Why did you do things that way?
Those are some of the questions others will also have.

• Practice for the questions. Try to come up with the toughest possible ques¬
tions, no matter how “stupid” you think they may be. No doubt you will
be asked some “stupid” questions.

• Have outsiders look at your book and presentation and invite their ques¬
tions and comments. Don’t be surprised if people are not as crazy about
your ideas as you are. Encourage constructive criticism. It’s good practice
for handling reviewers.

Final words
• Believe in what you’re presenting. It may not have been your original idea.
You may not even agree with some of the approaches, but sell it like it’s
the only solution possible.

• Know your presentation. Don’t memorize it. Come across as convincing,

not as over rehearsed.

• Don’t worry about mistakes. You’re judged more by how you recover from
a mistake than by the flawlessness of your presentation.

• Get enough sleep the night before.

• A little tension helps. The audience never notices those butterflies.

360 CHAPTER 17

Avoiding Death by
PowerPoint (or Flash)
Like any powerful tool, presentation software can be deadly in the wrong hands.
The following are a few tips and techniques to give your presentation a little
more zip:

• Be original. PowerPoint gives you a ton of clip art, but you don’t have to
feel obligated to use it. Cheesy clip art says you are as lazy and amateur¬
ish as most clients. They expect you to be the creative person.

• Less copy/more slides. Think of slides as billboards. Keep copy short. Use
bullets rather than paragraphs if you can. Don’t load up the whole slide
with copy.

• It’s important to import. Take advantage of the software’s capabilities. Bring

in sounds, video, experiment with transitions and custom animations.
I N

• Be consistent. Once you create a background and style and select a font,
stick with it. Pay close attention to consistent positioning of text on the
slide and consistent use of punctuation and upper- and lowercase.

• Keep it simple. Even though you have a lot of choices in transitions, type
effects, and animation schemes, don’t feel compelled to use all of them in
one presentation. Stick with one or two styles.

• Don't read your slides to the audience. Look at the audience, not the
screen. The audience should look at you first and the screen as a back¬
ground to reinforce your presentation.

• Leave something for the leave-behind materials. Your visual presenta¬

tion should function as a reminder, not a finished document. Just hit
the key points.

• Use a remote control. Advance your slides with a wireless “clicker.” You can
keep this in your pocket and the slides will change behind you like magic.
Don’t stand in front of the screen and point the clicker at the computer like
you re casting a spell. (We’ve even seen people pointing it at the screen!)

• Mix it up. If you have to give a long presentation, especially for a new-
business pitch or advertising campaign, dont rely entirely on PowerPoint.
When the lights go down, so does the energy level. Take a break every now
and then. You can show work on posters. Distribute handouts. Walk into the
audience. Do anything to break up the monotony of staring at that screen.

• Dont be blinded by the light. If you re working with a front-projection

system, try to position your screen on one side of the stage, so you can
keep presenters from staring into the light.
 SELLING IT 361

• Proof positive. Have someone other than the presenters proofread the
slides, preferably from a hard copy. Few things are more embarrassing
than having a room full of people see a typo on your slide.

• Remember, mistakes aren’t fatal. You’re human. So you may forget to

change a slide on cue. Or you may speak out of order. Or a technical
glitch may screw up a transition. It happens. Don’t let it throw you.
Calmly try to sort it out without disrupting your presentation. You might
be able to skip over it. But if it’s critical, you might have to take a break
and fix it. The main thing is not to freak out.

• Know your equipment. If you have to borrow computers and projection

equipment, make sure you’re comfortable with them. Every computer and
projector is a little different. Don’t assume everything will work just fine.

• Have a Plan B or even a Plan C. Anticipate what could go wrong from

both technical and personal standpoints. For example, one student pres¬
entation involved tossing an orange from one presenter to another. If she
caught it, fine. If she dropped it, she had an “ad-lib” line ready to use.

• Practice. Practice Practice. Did we mention you should practice? There is

no substitute for being prepared.

WAR STORY:

a 23-year-old ad intern. It was deer-in-the-headlights

Present(ing) Tense: A Lesson in
How Not to Show Your Work time. As I stumbled through the layouts, forgot the
rationale, and lost my place a half dozen times, I was
In grad school, I had two jobs—moving furniture and
turning as red as the checkered tablecloths. Those who
writing copy for a local ad agency. Both paid $5 per hour.
weren’t glancing at their watches or putting on their
After one disastrous presentation I thought hauling sofas
coats stared at me with a combination of pity and dis¬
held more promise.
gust. Sort of like looking at road kill. After a 15-minute
I had prepared a full campaign for a local tourist
train wreck of scattered layouts and disjointed rationale,
attraction, including TV, radio, print ads, brochures,
I sat down to a thunderous ovation of dead silence.
signs, promotional events—the works. The agency art
During the long, long ride back to the agency, the presi¬
director worked up some really nice layouts based on
dent’s only comment was, “Well, I would have presented
my ideas. So far so good. The president of the agency
it a little differently.”
decided that the genius behind this campaign should
Lessons learned: Never go into a presentation unpre¬
present it at a local Chamber of Commerce luncheon.
pared. Know your audience. Believe in your topic. And
After lunch I gazed at 20 sleepy old men anxious to get
always have a backup plan, like moving furniture.
back to their insurance agencies and hardware stores,
—Tom Altstiel
and I knew they had no interest in the brilliant ideas of
 362 CHAPTER 17

Typical Client Presentation

■ -
• Standard background and format
• Office clip art

17.2. Even though PowerPoint gives you a lot of clip art, 17.3. A slide from a student presentation using custom background
think of alternatives. Anything is better than those little and simple but eye-catching graphics.
blob people. __

Some presenters put too

much text on their slides
Some presenters expect the audience to
Keep It Simple
read massive amounts of text on a single ■ People don’t read slides
slide but in reality people don’t like to read ■ Just the key points
slides and it would be better if the
■ More slides/less copy
presenter just covered the key points, did
not read the slide and used more slides ■ Stay awake
and less copy. That way the audience , IHLyy
might stay awake past the second slide of
a long, long presentation.
jlSy
17.4. Audiences want to be entertained. They don’t want 17.5. Keep it short and simple, even if you need more slides,
to read your slides. __________
 SELLING IT 363

17.6. Above all, keep it clean and simple with consistent 17.7. In case you’ve missed our point during the past 17
and easy-to-read text. chapters: Keep it simple, and please remember, if you
emphasize everything, you emphasize nothing.

Notes
1 Quoted in Maxine Paetro, How to Put Your Book Together and Get a Job in Advertising
(Chicago: Copy Workshop, 2002), 152.

2 John Melamed, executive with the Cramer Krasselt ad agency, “How to Make Winning
Presentations,” lecture presented at Marquette University, Milwaukee, WI, February 10,
2004.
 j

'

.
 Appendix

Copy Platform
(Creative Strategy Statement)
Product (Service)_

The Product (or Service)

A. Primary features/benefits in order of importance (remember “So whats?”)

Feature Benefit
1._ 1._
2._ 2._
3. _ 3. _
4. 4. _

B. Exclusive or unique product (sendee) attributes

C. Can product claims be substantiated?

D. Parent company name important? Why?

E. Brand value: High status_ Low status_

No brand image_

The Consumer
A. Demographics (age, sex, education, income, occupation, geographic
distribution)

365
366 ADVERTISING STRATEGY

B. Psychographics (lifestyle, attitude, personality traits, buying patterns)

C. Needs fulfilled by buying this product or service

The Marketplace
A. Major competitors/rank in market/market share
1. _/_/
2. / /
i / /

Competitive advantage/disadvantage o f product (service)

Competitor (Our advantage (disadvantage)

C. Position of product (service) in market

Parity product (no perceived competitive advantage)

New product category (first of its kind)

Significant improvement over similar products

D. Pricing position (compared to competition)

Premium priced_ Comparably priced
Low priced _

Creative Strategy

A. The One Thing : If you could say one thing about this product
or service:_

B. Significant facts or statistics about product, consumer, or market

 APPENDIX 367

Copyediting and
Proofreading Symbols

Begin paragraph Years ago we invested in a small Seattle-based coffee...

Set in italics Isn’t it interesting how the English countryside...

Set in caps Try the hotpockets. they’re breathtaking.

Set in lowercase Is it an jEvil getting Too?

Insert period, comma No, M^Powers^J expect you to.... fj

Insert question mark Why won’t you dieA 7
A *

Insert apostrophe It got weird,didrft it? y.

Insert hyphen Do you like your quasj^uturistic outfits? yj*

Insert quotes
V
When a problem comes along, you must zip it.
V
V
^ >■>
/ \/

Put in space Are they angry se^Jpass?

Close up Crikey! I’ve lost my mcyo.

Set in boldface I’m from Holland. Isn’t that weird?

Insert word He kind of looks like^aby. /,

Delete word No,this is me in a ^nutshell. ^

Delete and close up Mo?ve over rover. This chick is taking over.

Leave as it was A trillier! is more than a billion...

Transpose I call it thefrarsonsyAllen/Project. (+?)

Spell out word Who does number(2)work for? (5f)

Copy on next page more

End of copy ### or—30—

368 ADVERTISING STRATEGY

Additional Radio Terms

AFTRA American Federation of Television and Radio Artists, one of the two
main unions for voice talent.

ANNCR Announcer.

Board Electronic control panel for recording, mixing, and editing.

Boom mike Microphone on long extension, over announcer’s head.

Buyout Total payment to talent for one-time use, as opposed to residual payments.

Cans Slang for announcers headphones.

Compression Electronic removal of dead air between words.

DAT Digital audiotape.

Dead air No sound between words or sound effects.

Demo ' Demonstration recording for reviewing or auditioning, not meant

for airing.

Donut Nonvocal musical segment or sound effect that allows an announcer to

read copy over it.

Double donut Usually a commercial with a musical intro, announcer

segment, musical middle, announcer segment, and musical close.

Fade Gradually reduce (fade out) or increase (fade up) volume.

Flight Time frame during which a commercial runs.

In Introduce music or effect.

Out Music or effect is deleted abruptly.

Nonlinear Segments recorded out of sequence and assembled digitally.

Phone patch Review of recording over phone lines instead of in the studio.

PD Public domain (music with no royalty fees, as in classical music).

Punch in Insert rerecorded segment into commercial to replace a segment.

P&W Pension and Welfare, additional payments made to SAG/AFTRA talent.

Quarter track Analog recording tape with four channels (two each direction).

Residual Payment made to talent after the initial run of the commercial.

Reverb Reverberation, an echolike effect.

SAG Screen Actors Guild, one of the two main unions for voice talent.

Sample Digital recording and re-creation of music or sound effect.

Segue Gradually lead into a new segment of a commercial.

SFX Sound effects.

Slice of life Simulated real-world situation, usually using dialogue.

Spot Commercial.
 APPENDIX 369

Spot market A local media buy rather than network.

Stage whisper Whisper that’s loud enough to be easily heard and understood.

Stinger Musical effect to provide emphasis, usually at the end of a jingle.

Swell Expansion of copy to fit a specific segment (e.g., translation of English

to Spanish usually accounts for a 20% swell due to the increase in words).

Tag End of a commercial, usually with the name of store locations, hours, or
other information.

Take Reading of a segment of copy at one time; each reading is a take. Most
commercials involve several takes.

Talent Announcer, actors, singers, or musicians in a commercial.

Talk back The button an engineer or producer uses to communicate with

talent in an isolated booth.

Under Reduce the volume of music or an effect so you can hear the announcer.

Up Raise the volume of music or an effect.

Voice of God Conversation with someone “off-camera,” usually with an effect

such as an echo.

White noise Undefined noise such as static.

Additional Television Terms

Accelerated montage Sequence edited into progressively shorter shots to
create a mood of tension and excitement.

Ambient light Natural light surrounding the subject, usually understood to

be soft.

Aspect ratio Ratio of the width to the height of the film or television image.
The formerly standard Academy aperture is 1.33:1. Wide-screen ratios vary. In
Europe 1.66:1 is most common; in the United States, 1.85:1. Anamorphic
processes such as CinemaScope and Panavision are even wider, 2.00:1 to 2.35:1.

Asynchronous sound Sound that does not operate in unison with the image,
or sound belonging to a particular scene that is heard while the images of the
previous scene are still on-screen, or that continue over a following scene. Also
diegetic sound whose source cannot be seen on screen or sound unintentionally
out of sync with the image track.

Backlighting Main source of light is behind the subject, silhouetting it, and
directed toward the camera.

Bird’s-eye shot (or overhead shot) Wide shot taken from high above the action.

Blue screen (or green screen or chroma-key) Shooting a subject in front of a

blue or green background so the image can be superimposed over another back¬
ground. The camera can be adjusted not to pick up blue or green, so, in effect,
you have a blocked-out image on clear background.
370 ADVERTISING STRATEGY

Boom Traveling arm for suspending a microphone above the actors and
outside the frame. See also Crane.

Bridge Passage linking two scenes either by continuing music across the tran¬
sition or by beginning the sound (including dialogue or music) of the next scene
over images of the previous scene (also called sound advance).

Bridging shot Shot used to cover a jump in time or place or other discontin¬
uous changes.

Continuity editing Technique whereby shots are arranged in sequence to

create the illusion of a credible chronological narrative. Often contrasted with
montage editing.

Crane Mechanical arm used to move a camera through space above the
ground or to position it in the air. A crane shot allows the camera to vary
distance, angle, and height (also called boom shot).

Crosscutting Intermingling the shots of two or more scenes to suggest paral¬

lel action,
|
Cutaway Shot inserted in a scene to show action at another location, usually
brief; most often used to cover breaks in the main take, as in television and
documentary interviews. Also used to provide comment on the action (e.g., by
cutting away from scenes of explicit sex or extreme violence).

Day for night Practice of using filters to shoot night scenes during the day.

Depth of field Range of distances from the camera at which the subject is
acceptably sharp.

Detail shot Usually more magnified than a close-up; shot of a hand, eye,
mouth, or subject of similar detail.

Drive-by shot View of person, object, or place from a camera located on a

moving vehicle as it passes by.

Dub Rerecord dialogue in a language other than the original or record dia¬
logue in a specially equipped studio after the film has been shot.

Dupe Print a duplicate negative from a positive print or print a duplicate

reversal print; also the term for a print made in this manner.

Establishing shot Generally a long shot that shows the audience the general
location of the scene that follows, often providing essential information and
orienting the viewer.

Fast motion (or accelerated motion) Film is shot at less than 24 frames per
second (i.e., the camera is undercranked) so that when it is projected at the nor¬
mal speed actions appear to move much faster; often useful for comic effect.

Final cut Film in its final state, as opposed to rough cut.

Flashback Scene or sequence (sometimes an entire film) inserted into a scene

in “present” time that deals with the past.

Flash forward Scene or shots of future time. See Flashback.

 APPENDIX 371

Flash frame Shot of only a few frames in duration, sometimes a single frame,
which can just barely be perceived by the audience.

Focus pull Pull focus during a shot in order to follow a subject as it moves
away from or toward the camera.

Follow shot Tracking shot or zoom that follows the subject as it moves.

Frame Any single image on the film. Also refers to the size and shape of the
image on the film, or on the screen when projected, or to the compositional unit
of film design.

Freeze frame Freeze shot achieved by printing a single frame many times in
succession to give the illusion of a still photograph when projected.

FX Effects.

Gaffer Chief electrician, responsible to the director of photography; responsi¬

ble for all major electrical installations on the set, including lighting and power.

High key Type of lighting arrangement in which the key light is very bright,
often producing shadows.

Intercutting See Parallel editing.

Key light Main light on a subject. Usually placed at a 45-degree angle to the
camera-subject axis.

Mask Shield placed in front of the camera lens to change the shape of the
image. Often used in POV (point of view) shots (e.g., looking through binocu¬
lars or a keyhole).

Master shot Long take of an entire scene, generally a relatively long shot that
facilitates assembly of component closer shots and details. Because the editor can
always fall back on the master shot, it is also called a cover shot.

Match cut Cut in which the two shots are linked by visual, aural, or
metaphorical parallelism. Famous example: At the end of North by Northwest,
Cary Grant pulls Eva Marie Saint up the side of Mt. Rushmore; match cut to
Grant pulling her up to a Pullman bunk. (Do not confuse with jump cut.)

Montage editing Technique of arranging shots in sequence to create connota¬

tions and associations rather than a standard chronologically unfolding narra¬
tive. See also Continuity editing.

Parallel action (or parallel montage) Narrative device in which two scenes are
observed in parallel through crosscutting.

Parallel editing Narrative construction that crosscuts between two or more

lines of action supposed to be occurring simultaneously. Usually restricted to
particular sequences in a film, crosscutting can also occur between lines of action
that are thematically related rather than simultaneous.

Postproduction Increasingly complex stage in the production of a film that

takes place after shooting has been completed; involves editing, addition of titles,
creation of special effects, and final sound track, including dubbing and mixing.
372 ADVERTISING STRATEGY

Preproduction Phase of film production following the securing of financial

backing but preceding shooting; includes work on the script, casting, hiring
crews, finding locations, constructing sets, drawing up schedules, arranging
catering, etc.

Reaction shot Shot that cuts away from the main scene or speaker in order to
show a character’s reaction to it.

Rough cut First assembly of a film, prepared by the editor from the selected
takes, which are joined in the order planned in the script. Finer points of
timing and montage are left to a later stage.

Shooting ratio Ratio between film actually exposed in the camera during
shooting to film used in the final cut. A shooting ratio of 10 to 1 or more is
not uncommon.

Soft focus Filters, Vaseline, or specially constructed lenses soften the delin¬
eation of lines and points, usually to create a romantic effect.

Subjective camera Style that allows the viewer to observe events from the
point of view of either a character or the persona of the author.

Swish pan (or flick pan, zip pan, whip pan) Pan in which the intervening
scene moves past too quickly to be observed; approximates psychologically the
action of the human eye as it moves from one subject to another.

Sweep in (or wipe in) Frame-by-frame revelation from blackout of

complete image.

Sweep out (or wipe out) Opposite of sweep in.

Synchronous sound Sound whose source is visible in the frame of the image
or whose source is understandable from the context of the image (e.g. source
music).

Tracking shot (or traveling shot) Generally, any shot in which the camera
moves from one point to another sideways, in, or out. The camera can be
handheld or mounted on a set of wheels that move on tracks or on a rubber-
tired dolly.

Wild sound Sound recorded separately from images.

 APPENDIX 373

What Agencies are Looking

for in an Entry-Level Copywriter
Core competencies
• Working knowledge of QuarkXPress, Adobe InDesign, Adobe Photoshop,
Adobe Illustrator, and/or Microsoft Excel

• Mastery of Word, WordPerfect, or other word-processing software

• Computer literacy, especially knowledge and use of the Internet

• Understanding of key advertising terms

• Understanding of agency structure, agency-client relationships, traditions

of the advertising business

• Understanding of basic marketing principles

• Mastery of the English language, including correct grammar and spelling

Developed skills
• Recognize superior creative ideas and be able to explain why

• Find, assemble, and organize background research

• Develop a logical copy platform with prioritized copy points

• Develop attention-getting headlines

• Combine headlines and graphics into a single idea

• Write compelling, benefit-oriented copy

• Connect reader/viewer/listener with advertiser

• Create campaigns with elements that work independently and collectively

• Present ideas with confidence and enthusiasm

Personality
• Ability to accept criticism and use it to improve

• Leadership ability

• Team mentality—ability to work with art directors/account people

• Willingness to learn about clients’ businesses

• Strong work ethic—not a 9-to-5 mentality

• Confidence without arrogance

374 ADVERTISING STRATEGY

What Happens When

You Obey All the “Rules”

Color photo of kid

and dog

i
Lots of white space

Benefit headline
with proven words

At last! Announcing the free advice

you’ve always wanted.
Who else would show' you a new? way how to do this?

You can have it all Money, Sex Fame. A corner office with a window. Just follow these
easy steps. First, obey the “rules'’ for effective advertising design. Which rules? All of
them! Next, do exactly what you’re told...by everyone you work with. Then, wait for all
the good things to corne your way. That’s all there is to it.

To get all the facts, send for our free book “How to Become a Rich, Famous Ad Person
who Gets Lots of Sex arid a Corner Office with a Window ’’ Act now* Supplies arc limited.

Strong cal! to action Short sentences. Strong

appeal to wants and needs

Color logotype

AdHacks
If it smells, it sells Rhyming slogan

www.send-us-your-bank-account-number.com
Prominent Web site

■HU ■ :\ :
HHHRB ■
 APPENDIX 375

The Whole Book in One Page

• Find the central truth in a product. Discover the “One Thing” you can
communicate. Look for that single adjective that defines a brand.

• Don’t write to the masses. Talk to an individual. Find out how to satisfy
his or her wants and needs.

• Learn to write structured, well-crafted body copy. People will read long
copy if they are interested in the subject.

• Write hot. Edit cold. In other words, write with enthusiasm and let the words
flow. Later, go back and edit ruthlessly. After you edit, cut another 20-30%.

• Learn to write headlines. The headline can be the most important words
in the ad. Don’t write a weak headline and try to support it with a subhead.

• Learn to write theme lines. Really good taglines or slogans can make
a product.

• Learn teamwork. Learn to collaborate. Not just with art directors, but
also account people and the client. Become valuable to the client, and you
become valuable to the agency and the next agency.

• Think visually. Don’t assume an art director will save your idea if you can’t
visualize it. Look for the visual-verbal connection. They work together—
one does not describe the other.

• Keep it simple. That applies to both copy and design. When you emphasize
everything, you emphasize nothing. Stick to one basic idea and make it work.

• Think campaigns. Think about different elements that work individually

and cumulatively to convey the message. Think of how you can extend
and repeat campaign components.

• Learn how to present. Be confident, persuasive, logical. If you’re naturally

funny, use it. If you’re not, don’t try to be. Defend your opinions but
know when to back down (see Learn teamwork).

• Accept menial assignments. Be humble. Do everything. Absorb the experi¬

ence and use it later. A good attitude is a major component of your success.

• Continually upgrade your portfolio. Don’t put things in just because they were
produced. Don’t get sentimental. Weed out anything less than wonderful.

• Accept criticism and use it to improve. Develop a thick skin—creative

directors, account people, clients, your peers will think they have a better
idea. Throw a tantrum and you won’t sell the next idea either.

• Get involved in outside activities. Read, pay attention to pop culture, take
an interest in life outside of advertising and marketing.
 £
,

' •

I '

*
 Index

AARP magazine, 197 American Federation ofTelevision and Radio

Abercrombie & Fitch, 92 Artists (AFTRA), 282
Absolute Vodka, 146 Anderson, A., 53, 72—73
Account executive, 6 Animals/animated characters, 121, 122,
Account executive evaluation, 90 138, 296
Account manager, 7 Annual/quarterly reports, 347
Account planner, 7 Apple Macintosh, 114, 135, 143, 202,
Ad copy. See Body copy 205,273
Ad-libs, 265 Applebee’s, 136
Adult content, 289 Arab American market, 70, 141
Advertising Arby’s, 139
defining, 15-17, 132 Architectural Digest, 195
rules of, 10-11 Archive magazine, 104
Web sites for, 31-32, 126, 271 The Art of Writing Advertising: Conversation
Advertising: Concept and Copy (Felton), with Masters of the Craft (Higgins), 31
160, 165 Asian American market, 70
Advertising Age magazine, 69, 146, 165, 197 Asymmetrical design, 103, 105
Advertising awards Web sites, 31-32 AT&T, 335
Advertising copy. See Copy and creativity Avis, 3, 146, 165
Advertising Copywriting (Burton), 243 Award competitions, 14—15
Advertising-ese, 183—184, 187 Awards Web sites, 31-32
Advertorial format, 200
The Advocate, 63 Baby Boomers, 66, 90, 93
Aflac, 287, 337, 338 Bacall, L., 138
African American market, 53-55 Backward S pattern, 115
Age influences, on color, 112 Bad taste, 184, 187
Agency owner, 8 Balance, principles of, 103-104
Agricultural advertising, 197-198, 345, 352 Bandwidth, 301
AIDA model (attention, interest, Banner ads, 310, 311, 313
desire, action), 242 Banner exchange, 320
Albright, J., 131, 145,208, 341 B2B advertising. See Business-to-business
Aleman, I., 57, 58 (B2B) advertising
Alignment, principles of, 102-103, 110 Bedbury, S„ 24, 27, 28, 31, 32, 38, 338
Alka Seltzer, 224 Beers, C., 141, 147
Allen, C„ 17 Bendinger, B., 267
Allen Edmonds, 160 Bernbach, D. D., 295
Alliteration, 159, 188 Bernbach, W., 3, 37, 49
Ally, C., 10, 14, 94, 96 Betty Crocker, 61
Altoids, 125, 205 A Big Life (in Advertising) (Lawrence), 30
Altstiel, T., 11, 361 Billboards, 218-220, 223
America Online, 307, 325 See also Out-of-home advertising
American Advertising Federation (AAD), 356 Bird, D„ 245, 247
American Association of Advertising Agencies Bleed, color, 114, 120
(AAAA), 12, 274 Blockbuster, 315
American Express, 167, 287 Blocks and shapes, 120
American Family Association (AFA), 63 Blogs (Weblogs), 319-320

377
378 ADVERTISING STRATEGY

Bloomingdale, 209 interactive technology, 350, 351

BMW, 242, 326, 327 Internet for business, 349—350
Bodett, T„ 270 the Pro-Comm Award, 352
Body copy wants and needs of business buyers,
biographical sketches, 191—192 344- 345
checklist for, 189-191 the “War Story” about, 351
comp layout, 181-182 “Words ofWisdom” about, 342
primary purpose of, 173-177 Business video, 352
the Internet, 177 Business Week, 21, 197
long-copy ads, 175-176
the “War Stories” about, 178, 189 Cadillac, 93, 166
“Words ofWisdom” about, 174, 175, 176, Campaign Planner for Promotion
179, 182, 186, 188, 190 andIMC (Sayre), 131
the writing structure, 178-181 Campaigns
bullet points, 179-180 biographical sketches, 147
one-liners, 181 business-to-business (B2B) advertising and,
story components, 179 345- 347, 352
writing styles and, 182-188 defining campaign, 131-132
English grammar, 182-183, 185 direct mail advertising and, 239-241
persuade, don’t impress, 183 enhancing continuity and, 133-141
powejr writing, 186-188 animated characters/animals, 138
the Seven Deadly Sins of design and taglines, 140
copywriting, 183-186, 187 extendibility, 134—135
Bonus packs, 326 music, 137-138
Book references, 30-31 repeatability, 135-136
Brainstorming, 86 spokespersons/celebrities, 139-140
Brand image advertising, 23-26, 79, 289 story lines/situations/catchphrases, 140
Branded: The buying and selling of teenager’s the target audience, 140-141
(Quart), 61 voice talent, 138
Breakers, 163 IMC (Integrated Marketing
Brochures. See Collateral materials Communications) and, 132-133
Brosnan, P., 85, 285 magazine advertising and, 202
Brower, C., 179, 191-192 National Student Advertising Competition
Bud Light, 11,270 (NSAC) and, 141-142
Budweiser, 11, 22, 308 newspaper advertising and, 211,214
Bullet points, 179-181 out-of-home advertising and, 224—225
Bulletin boards, 218-220, 223 putting it all together, 142-146
See also Out-of-home advertising radio advertising and, 269, 270
Burger King, 91 sales promotions and, 336-337
Burnett, C., 259 television advertising and, 293, 295
Burnett, L„ 3, 22, 29, 32, 68, 87, 95, 138 the “War Story” about, 144
Burrell, T„ 53, 73 “Words of Wisdom” about, 132, 138, 146
Burton, P. W., 151, 243, 245 Capabilities brochures, 347
Bus panels and murals, 221-222 Capital One, 284
Business broadcast, 352 Caples, J., 150, 154, 175, 187, 245, 246, 247
Business Marketing Association Career goals, for copywriters, 7-9
(BMA), 352 Carlson, J., 304
Business publications, 197 Case history. See Testimonials/case histories
Business-to-business (B2B) advertising Casting talent, 258-259, 276, 282-283
agricultural advertising and, 345 Catalogs, 347
biographical sketches, 353 Catchphrases, 140, 165
campaigns and, 345-347, 352 See also Taglines
collateral materials and, 347—349 CD-ROM/DVD, 202, 349, 351, 352
differences/similarities of, 342 Celebrities/spokespersons
direct mail and, 245, 246 campaigns and, 139-140
introduction on, 341-342 in television, 285-287
“nontraditional” media and See also Testimonials/case histories
business broadcast, 352 Champ, J., 178, 192
business video, 352 Chaotic (cirus) layouts, 118-119
 INDEX 379

Character actors, 138, 285 creative process to, 86-89

See also Celebrities/spokespersons brainstorming, 86
Cheer, 284 idea starters, 87-89
Chevrolet, 138, 166, 170 stages of testing, 89-90
Chiat, J., 41, 196, 297 client evaluation, 90
Chicago Tribune, 208 creative director/account executive
Chivas Regal, 179 evaluation, 90
Chrysler, 167, 285 self-evaluation, 89—90
Cirus (chaotic) layouts, 118 unexpected elements in, 90-95
Citibank, 56, 285 the “War Story” about, 88
Clairol, 146, 165 “Words of Wisdom” about, 78, 79, 86, 87,
Class, color and, 112-113 91,94, 95
Classified ads, 207 writer’s block and, 95
Client evaluation, 90 Conceptual considerations, 128
Client’s problem, solving a, 35, 36 See also Design for writers
Clow, L., 297 Confessions of an Advertising Man
CMYK (cyan, magenta, yellow, (Ogilvy), 172
and black), 113 Consultant, 8-9
CMYK magazine, 104 Consumer direct mail, 245, 246
CNBC, 338 Consumer Electronics Show, 329
Coca-Cola, 53, 55, 67, 82, 127, 137, 140, Consumer profile, 43-45
146, 165 Consumer publications, 197
Colbert, S., 285 Consumer sales promotions, 325-328
Collaging, 120 Content management system (CMS), 301
Collateral materials, 347—349 Contests/games, 325
See also Business-to-business Continuity dimension, enhancing,
(B2B) advertising 126-127, 133-141
Colley, R., 30 Contrast, 103-104
Color books, 126 Contrast, principles of, 103-104
Color considerations, 112—114 Convergence, defining, 18
See also Design for writers Cooke, M„ 201,214
Columns, 116—117 Cooperative advertising, 329
Comedy in commercials, 259-265 Copy, as graphic, 120
checklist for, 264 Copy and creativity
common comedic formulas, 262-263 award competitions, 14—15
having an entertaining concept, 264—265 biographical sketches, 32-33
humor in TV and, 289-291 brand image advertising, 23—26
types of comedic devices, 259-262, career goals for copywriters, 7—9
263, 264 consumer’s wants and needs
Commercials, radio. See Radio advertising and, 28—29
Commonsense Direct Marketing (Bird), 247 copywriter’s role, 3—4
Communication Arts Advertising Annual, 214, the creative process, 5-7
225, 246, 296 developing creative strategy, 1—2
Communication Arts magazine, 86 ethical and legal issues, 11-14
Comp layout, 181-182 fame, fortune, and fun, 9—10
Comparison headline, 152, 153 foundations of marketing
Competition repositioning, 21—22 communications, 15—18
Competitive/comparison concepts, 81-84 history of advertising, 2-3
Computer technology, 100, 275 the marketing process, 18-19
Concepting the big idea predictors of creative achievement, 11
approaches to, 79-85 resonance and, 27
borrowed interest, 84 rules of advertising, 10—11
competitive/comparison concepts, 81-84 sources of information on, 30-32
show the alternative, 81 strategy development, 19
show the benefit, 79—80 theories, schmeories and, 19—20
show the product, 79 using positioning, 20—22
testimonials/case histories, 84-85 the “War Stories” about, 11, 23, 27
basic strategies for, 77-79, 275 “Words of Wisdom” about, 6, 8,
biographical sketches, 96-97 14, 18, 19,22, 24, 28, 29
380 ADVERTISING STRATEGY

Copy platform, 41-42 typography, 106-111, 227

Copy Platform (form), 365-366 creating better layouts, 110—111
Copyediting/proofreading symbols, 367 placement of, 108—110
Copyright law, 13, 14 styles of, 108
Copywriters, career goals for, 7—9 understanding design for copywriters,
Copywriters role, 3-4 99-100
Corona Beer, 335 the “War Story” about, 107
Corporate image brochures, 347 “Words of Wisdom” about, 99, 101,
Corporate spokesperson, 285 115, 122, 128
See also Spokespersons/celebrities Dialogue/interview, in radio, 254-255, 265-266
Cosmopolitan magazine, 122 Digital coupons, 315
Countertop displays, 332, 333 Digital photos, 126
Coupons, 325 Digital video recorders (DVRs), 276
Cover letters, 243-244 Dimensional mailers, 236—237
Crawford, J., 239 Direct benefit headline, 152
Creating the Advertising Message Direct mail advertising
(Albright), 131 advantages/disadvantages of, 230-231
Creative achievement, predictors of, 11 biographical sketches, 247
Creative brief, 42-43 business-to-business (B2B) and, 245, 246
Creative director evaluation, 90 campaigns and, 239-241
Creative process. See Concepting the big idea database marketing and, 231-232
Creative Revolution, 2 defining direct mail, 174, 229-230
Creative strategy statement, 41 the ECHO Award, 246
Creative Strategy Statement (form), 365-366 tips and techniques for, 242-246
Creativity. See Copy and creativity testing, 245-246
Crest, 181 using gadgets, 244-245
Cross-promotions, 326 writing cover letters, 243-244
Cultural diversity, marketing issues in. See types of, 232-238
Marketplace issues, changes in dimensional mailers, 236—237
Cultural meanings, of color, 112 envelope mailers, 233, 234-235
Curiosity headline, 152 flat self-mailers, 233-235
Internet direct mail (IDM), 238
DAGMAR model (defining advertising goals the “War Story” about, 239
for measured advertising results), 18, 242 “Words of Wisdom” about, 238, 245
Database marketing, 231-232 Direct marketing, 133, 229, 230
Deadly Persuasion (Kilbourne), 61 See also Direct mail advertising
Deadwood, 184, 187 Direct Marketing Association (DMA),
DeBeers, 134, 146, 165 229, 242, 246
Decorative type, 108 Direct response, 229-230
Defining Advertising Goals for Measured Directive headline, 152, 153
Advertising Results (Colley), 30 Director, 314
Design for writers Discounts, 326
basic design principles, 100-106 Display ads, 207
alignment, 102-103 Display copy, 107
balance, 103-104 Diversity, in advertising. See Marketplace
proximity, 101, 102 issues, changes in
unity, 104-106 The Do-It-Yourself Lobotomy: Open Your
biographical sketches, 129-130 Mind to Greater Creative Thinking
color considerations, 112-114 (Monahan), 31, 147
creating better layouts, 106 Dodge, 167
the creative process, 120-127 Dr. Pepper, 319
campaign continuity and, Dramatization, in radio, 255-256
126-127, 140 Drawings, 126
finding visuals, 125-126 Drewniany, B., 251, 267
illustration vs. photography, 123-125 Dupuy, M., 132
selecting visuals, 120-123 Durfee, J., 175, 192
graphic considerations, 119-120 Dusenberry, P., 40, 91, 96, 174, 176, 356
layout organizational patterns, 114-119 DVD/CD-ROM, 202, 349, 351, 352
putting it all together, 128-129 DVRs (digital video recorders), 276
 INDEX 381

E-mail marketing, 238, 239 copy platform, 41-42

E-mail newsletters, 316 creative brief, 42-43
Early, D„ 301,302, 305, 309 formal tone statement, 45-46
Eating the Big Fish: How Challenger biographical sketches, 49-50
Brands Can Compete against the gathering the facts, 36—40
Brand Leaders (Morgan), 31 features outside/inside the product,
ECHO Award, 246 39-40
Edges (margins), 119-120 identifying the target audience, 38-39
Edgy concepts, 92-95, 184 interpreting research findings, 38
Emotional headline, 152 primary research, 37-38
English grammar, 182-183, 185, 187 secondary research, 37
Entry-level copywriters, 7, 373 putting it all together, 48-49
Envelope mailers, 233, 234-235 solving the clients problem, 35
Ericksen, J., 291 the “War Story” about, 36
Ethics, creative code of, 11-12 “Words ofWisdom” about, 35, 37, 38, 40,
Ethnic diversity. See Marketplace issues, 41,44, 45
changes in Ghosting (screening back), 114
Event marketing, 334—336 Global advertising, 67-70, 293
EVEolution, 59 Golf Digest, 203
Excedrin, 235 Goodby, J., 79, 147, 290
Extendibility dimension, enhancing, 134-135 Google, 126, 318, 320
Extension boards, 218, 219 Gossage, H„ 218, 227, 304
Got Milk, 136
Fact sheet, 252 Gradation, in color, 114
Fallon, P., 21, 215 Graphic considerations, 119—120
FedEx, 103, 326, 351 See also Design for writers
Felton, G., 20, 160, 165,275 Graphic in headline, 158
Femina. J. D., 8, 32, 157 Gregory, D., 54
FHM magazine, 122 Grid patterns (Mondrian layouts),
Field-of-tension (chaotic) layouts, 118 116-117
Financial incentives, 328 Griffey, K., Jr., 53
Flash, 307, 314 Grow, J., 23, 107
Flat self-mailers, 233-235 Guerrilla marketing, 337-338
Fonts (typefaces), 106, 110 Gutter, 119
See also Typography
Ford, 67, 276 Half-page spreads, 200
Formal tone statement, 45-46 Hall, C., 71
Fowler, D., 270 Hamilton, B., 225
Freber, S., 260, 271 Hard-sell techniques, 238
Freelance writer, 8 HDTV (high-definition TV), 277
Freeman, C., 286, 297 Headlines
Freestanding displays, 332, 333 biographical sketches, 172
checklist for, 162-163
Gadgets, using, 236, 244-245 design structure of, 107, 158
Galleys, 110 importance of, 149—150
Garfield, B„ 146, 293 the “magic words,” 154
Garner, J., 138 preheads and, 164, 165
Gate, B., 303 proven styles of, 154-155
Gay and lesbian market, 62—65 subheads and, 163-164
Gender influences, on color, 113 taglines and, 140, 165-171
Gender issues, in advertising, 58-62 benefit of ad support, 171
General Electric (GE), 84, 139 the creative tree for, 169-171
General Motors, 56, 69 primary purpose of, 166-167
Generic benefits (weasel words), tips and techniques for, 167-169
184-185, 187 types of, 151-153
Getting started using the creative tree for, 155-157
assembling the facts, 40-47 the “War Story” about, 157
the call to action, 47 “Words ofWisdom” about, 150,
consumer profile, 43-45 151,161
382 ADVERTISING STRATEGY

writing with style. 158-162 search engine marketing, 317—318

evaluating headlines, 161—162 Weblogs (blogs), 319—320
ineffective headlines, 160-161 promoting the Web site, 320—321
Henderson, F., 91 terminology in, 301-302
Hertz, 3 tips and techniques for, 317
Hewlett-Packard, 276 tools for, 310—316
Hey Whipple, Squeeze This (Sullivan), 14, 97 banner ads, 310, 311, 313
Higgins, D., 31 digital coupons, 315
High-definition TV (HDTV), 277 e-mail newsletters, 316
Hill, K„ 307 interstitial ads, 312, 314
Hispanic market, 55-58 out-of-banner ads, 314
Hite, M., 86, 151, 172 pay-per click/pay-per-sale, 316
Honda, 188 pop-up ads, 316
Hornblowing headline, 152, 153 rich-media banners/badges, 310,311
HotMail, 320 sponsorships, 316
How-to headline, 157 the “War Story” about, 309
How to Write Sales Letters That Sell (Bird), 247 Web site design, 302—308
Howdy Doody, 273 deciding on static or active content,
H&R Block, 287 304-305, 306
Humor, in TV, 289-290 personal portals, 307-308
1
Iacocca, L., 285
programming the site, 306-307
site map planning, 303
IBP (integrated brand promotion), 17 template/content considerations,
Idea starters, 87-89 303-304
See also Concepting the big idea writing content guidelines, 305-306
Illuminated boards, 218, 219 “Words of Wisdom” about, 301, 302, 307
Illustrations, selecting, 123-125 Internet direct mail (IDM), 232, 238
Image-dominant layout, 105 See also Direct mail advertising
IMC (Integrated Marketing Interpretation, of research findings, 38
Communications), 16-17, Interstitial ads, 312, 314
132, 337, 345,352 Island format, 200
See also Campaigns ITV (interactive TV), 276
In-house/speciality magazines, 198-199
Inserts, 200 Jeep, 166, 180, 285
Inside bus cards, 220 Jewler, J., 251, 267
Instructor, 9 Jingles, 137, 167, 267
Integrated brand promotion (IBP), 17 See also Music/sound effects
Integrated Marketing Communications Jobson, G., 85
(IMC), 16-17, 132, 337, 345, 352 Johnson, L., 295
See also Campaigns Jokes/slang, 94
Interactive contests, 328 Jordan, M„ 139, 289
Interactive technology, 350, 351 Junk e-mail, 316
Interactive TV (ITV), 276 Justification, of type, 109, 110
Internet advertising
advantages/disadvantages of, 300 Kay Jewelers, 167
the “best” interactive work, 321 Kelly, P., 351
business-to-business (B2B) marketers Kelly Award, 204-205
and,349-350 Key frame, in television, 280
future predictions in, 301 Kilbourne, J., 61
introduction on, 133, 177, 299-300 Koening, J., 129, 183
online branding and, 308-309 Krone, H., 99, 129
other online marketing communications, Kuraoka, J., 70
317-320
buying keywords, 318 L. L. Bean, 25
opt-in e-mail ads, 318, 319 Label headline, 152, 153
paid listing in portal sites, 318 Lamar, B., 293
permission-based marketing Latino market, 55-58
(PBM), 318 Laundry lists, 185, 187
rich mail, 319 Lawrence, M. W., 30, 35, 49
 INDEX 383

Layout basics, 114—119, 129 McGraw-Hill, 341

See also Design for writers Media costs, in radio production,
Leading, of type, 109 256-258
Left brain function, 20 Media teamwork, 201
Legal issues, 11—14 Melamed, J., 357
Letter packages, 233, 234 META tags, 317
Letterman, D., 338 Metaphors, visual, 83, 84, 227
Levinson, J. C, 223, 337, 338 Meyer, A., 36
Lifestyle claims, 14 Meyer, G. A., 49
Light, L., 293 Michelob, 66
Lines, 102-103 Microsoft, 88
Live script/live production spot, 253 Microsoft Internet Explorer, 307, 320
Local advertising (retail), 208 Microsoft Media Player, 307
Lois, G„ 115, 129 Miller beer, 12, 64, 118, 146, 165
Long-copy ads, 110, 175-176, 178 MINI, 212, 213, 214, 241, 307, 309
Loyalty programs, 326 Mirroring, 104
Lycos, 318 M&M, 166
Mobil billboards. See Transit advertising
MacDougall, M., 204 Modern type, 108
Magazine advertising, 196—205 Monahan, T„ 31, 138, 147
advantages/disadvantages of, 195—197 Mondrian layouts (grid patterns), 116-117
campaigns and, 202 Moore, C., 88, 96-97
formats, 200 Moriarty, S., 68
the Kelly Award, 204—205 Morris, A., 55, 73
media teamwork and, 201 Morris, B., 310, 316
types of publications, 197—199 Morton Salt, 165
See also Print Moss, S., 301
Magazine Publishers of America, 204 Motel 6, 270
Magazines, 126 Motion boards, 218, 219
Management/creative director, 7 MSN, 316, 320
MarCom, 16 MTV, 94, 288-289
Margins (edges), 119-120 Multi-item ads, 210
Marketing communications, defining, 17 Multicultural marketing. See Marketplace
Marketing Insights and Outrages (Bird), 247 issues, changes in
Marketing process, 18-19 Multimedia portfolios, 275, 276
Marketplace issues, changes in Multinational companies, 67-68
the African American market, 53-55 Murals, 221-222
biographical sketches, 72-73 Music/sound effects, xx
final note about, 72 campaigns and, 137—138
the gay and lesbian market, 62-65 concepting the big idea and, 93—94
the global market, 67-70 radio advertising and, 253, 261, 267
introduction on, 51—52 television advertising and, 288
the Latino market, 55-58 MyKolyn, S„ 309
the mature market, 65-67
overall tactics for, 70 NAMA Award, 352
the “War Stories” about, 55, 58 NASCAR, 335
the women’s market, 58-62 National AgriMarketing
“Words of Wisdom” about, 54, 56, 61, 63, Association (NAMA), 352
71-72 National inserts, 211
Marlboro, 68, 146 National newspaper advertising, 210-211
MasterCard, 167 See also Print
Mature market, 65-67 National Student Advertising
Maxim magazine, 122 Competition (NSAC),
Maxwell House, 165 141-142, 144,356
Maytag, 276, 286 Native American market, 70
McCabe, E„ 189, 192, 269 Negative space, 104, 106, 111
McDonald’s, 55, 56, 68, 70, 137, 146, 167, Nelson, W„ 287
168,288, 293 Netscape, 307
McElligott, T., 21, 208, 215 Nevaer, L., 56
384 ADVERTISING STRATEGY

A New Brand World: 8 Principles for Achieving the “War Story” about, 225
Brand Leadership in the 21st Century “Words ofWisdom” about, 218, 223, 225
(Bedbury), 31, 32 Outdoor advertising. See Out-of-home
New-business pitch, 356-357 advertising
News headline, 151, 152 Outdoor Advertising Association of
Newspaper advertising, 205-214 America, 225
advantages/disadvantages of, 206 Outdoor posters, 218
campaigns and, 211,214 Overlines (preheads), 164, 165
categories of 207 Overprinting/reverse type, 109
formats, 208 Overstatements/understatements, 161
guidelines for writing, 214 Oxygen Media, 320
readership trends, 206
types of ads, 207 Padnuk, B., 144
See also Print Paetro, M., 131
Newspaper Association of America, 214 Page edges, 119
Nike, 23, 62, 65, 69, 93, 139, 146, 165, 178, Painted bulletins, 218
288,319, 320, 338 Panasonic, 157, 167
Nissan, 168, 177 Pantone Matching System (PMS), 113—114
Nixon, R., 85 Parallel construction, 159, 188
Non-franchise building, 325 Pay-per-click (PPC), 316
Nordstrom, 208 Pay-per-sale (PPS), 316
NSAC (National Student Advertising Pepsi, 53, 67, 82, 91, 137, 281, 286, 288, 325
Competition), 141-142, 144, 356 Per-inquiry TV (PITV), 277
Nudity, 93 Periodical resources, 30
NYNEX, 225 Permission-based marketing (PBM), 318
Personal selling kits, 347
OBIE Award, 225 Photography, selecting, 123-125
Obvious falsity claims, 14 Pirtle, W., 126, 128, 130
Offensive language, 93 PITV (per-inquiry TV), 277
Ogilvy, D., 2, 3, 31, 44, 61, 149, 161, 163, Plan books, 174
172, 182, 190, 267,289, 293 Planned Parenthood, 72
Ogilvy on Advertising (Ogilvy), 31, 172 Playboy magazine, 122
O’Guinn, T., 17 PMS (Pantone Matching System), 113-114
O’Kane, C., 238 Point of purchase (POP), 323, 333, 334
Old style type, 108 See also Sales promotions
One-liners, 181 Point of sale (POS), 323, 333
Online advertising. See Internet advertising Point size, 107-108
Online branding, 308-309 Political commercials, 293, 295
Operating systems (OS), 306 Pop-up ads, 316
Opt-in e-mail ads, 318, 319 Popcorn, F., 59
Opt-in e-mail ads, 318, 319 Porsche, 115, 204
Optimization, 317 Portfolio school Web sites, 32
Orbitz, 316 Portfolios, 275, 276
Orkin, D„ 251,271 Positioning: The Battle for Your Mind (Trout &
Orwell, G., 15 Ries), 20
Oscar Meyer, 137, 267, 313 Positioning, using, 20-22
Osmond, D., 91 Postcards, 235, 240
Osmond, M., 91 Posters and bulletins (billboards),
Out-of-banner ads, 314 218-220, 223
Out-of-home advertising See also Out-of-home advertising
advantages/disadvantages of, 217-218 Power writing, 186-188
biographical sketches, 227 PowerPoint presentations, 360-362
campaigns and, 224-225 Preheads (overlines), 164, 165
the OBIE Award, 225 Premiums (merchandise), 326
posters and bulletins (billboards), Presentations
218-220, 223 distinctive methods for, 357-358
tips and techniques for, 226-227 introduction on, 355-356
transit advertising, 220-222 new-business pitch, 356-357
wall murals, 222-223 team presenting, 357
 INDEX 385

tips for handling Q&A, 358-359 Purchasing Weekly, 342

tips for PowerPoint (or Flash), 360—362 Push money (spiffs), 328
the “War Story” about, 361
“Words of Wisdom” about, 356, 357 Quart, A., 61
Priceline, 256 Quarter-page spreads, 200
Primary colors (RGB), 113 Question headline, 155, 156
See also Color considerations QuickTime, 307
Primary research, 36, 37-38 Quinlan, M. L., 59
Print Quote headline, 157
biographical sketches, 214—215
magazine advertising, 196-205 Radio advertising
advantages/disadvantages of, 195-197 advantages/disadvantages of, 249—250
campaigns and, 202 biographical sketches, 271
formats, 200 campaigns and, 269, 270
the Kelly Award, 204—205 catchy jingle and, 267
media teamwork and, 201 comedy in commercials, 259-265
types of publications, 197—199 checklist for, 264
national newspaper advertising, 210-211 common comedic formulas, 262—264
newspaper advertising, 205—214 having an entertaining concept, 264—265
advantages/disadvantages of, 206 types of comedic devices, 259-262,
campaigns and, 211,214 263, 264
categories of, 207 creative challenges and
formats, 208 opportunities for, 251
guidelines for writing, 214 creative techniques for commercials,
readership trends, 206 253-256
types of ads, 207 dialogue/interview, 254-255
retail advertising, 208-210, 214 dramatization, 255-256
the “War Stories” about, 203, 212-213 testimonial/case history, 256, 257
“Words of Wisdom” about, 196, 201, 202, introduction on, 249
204,208, 215 problems with radio dialogue, 265—266
Prioritizing, concept of, 102 consumers become salespeople, 265
Pro-Comm Award, 352 gaps in conversation, 266
Procter & Gamble, 21, 56, 63, 64, stilted language, 265—266
67, 69,319 production considerations in, 256-259
Producer/director, 8 casting talent, 258-259
Product brochures, 347 media costs and, 256—258
Product giveaways, 325 time constraints, 259
Product placement, 326 the Radio-Mercury Award, 270-271
Product repositioning, 21 sample radio script, 252
Production spot, 253 terminology and classifications in,
Production values/design, 94 251-254, 368-369
Products, features and benefits of, 39-40 format, 251
Professional journals, 197 styles of commercials, 253, 254
Promotion director, 7 types of commercials by production,
Promotional allowances, 328 252-253
Promotions, defining, 132, 323 tips and techniques for, 267-269
See also Sales promotions the “War Story” about, 270
Proofreading/copyediting symbols, 367 “Words of Wisdom” about, 251, 258,
Proposals, 174 267,269
Proximity, principles of, 101, 102 Radio Advertising Bureau, 251, 270
Public notices, 207 Radio-Mercury Award, 270-271
Public relations (PR), 132, 324, 333-334 Reader’s Digest, 93
See also Sales promotions Readership trends, in newspapers, 206

Public relations writer, 8 Reagan, R., 84, 139, 295

Public speaking, 355 Real media, 307
Publications, types of, 197-199 Rebates, 326
Puffery claims, 13 Reebok, 39
Punctuation, English grammar Reese’s Pieces, 326
Puns/wordplay, 159, 160, 167 Reeves, R., 45, 50, 188
386 ADVERTISING STRATEGY

Reference materials, 30—32 Script, television, 278-279

Rejection, in radio, 260 Script type, 108
Repeatability dimension, enhancing, Search engine marketing, 317—318
104-106, 135-136 Sears, 56, 208
Research categories, 36—38 Secondary research, 36, 37
Research findings, interpreting, 38 Sedelmaier, J., 353
Resonance, 27 Seger, B., 137
Resor, H. L., 196, 215 Segmentation, in television, 274
Restricted products/themes, 289 Self-evaluation, of ideas, 89
Retail advertising, 208-210, 214 Self-mailers, 233—235
See also Print Sell sheets, 347
Retail buzzwords, 209-210 Semenik, R., 17
Reverse/overprinting type, 109 Serif fonts, 107, 110
RGB (primary colors), 113 See also Typography
Rhythm/rhyme, 159, 167, 188 Seven Deadly Sins, of copywriting,
See also Jingles 183-186, 187
Rice, N„ 21, 203, 215 Seven-Up, 22, 81
Rich mail, 319 Sex, 93
Rich-media banners/badges, 310, 311 SFX (sound effects). See Music/sound effects
Richards, J., 18, 33, 63 Sharpe, M., 254
Ries, J., 20, 22 Shockwave, 314
Right brain function, 20 Shot selection, in television, 282
Riney, H.^101, 186, 202, 295, 297 Signature lines. See Taglines
Rip and read (fact sheet), 252 Simmons Market Research Bureau, 37, 63
Rolex, 29 Situations, 140
Rolling Stone magazine, 21, 22, 203 See also Story lines/situations/catchphrases
Rolls-Royce, 149, 187 Sivulka, J., 31
Sixty five (65)-plus group, 66
Sales presentations. See Presentations Size, of type, 107-108
Sales promotions Slogans. See Taglines
advantages/disadvantages of, 324—325 Slotting allowances, 328
biographical sketches, 338 Soap, Sex and Cigarettes: A Cultural History of
campaigns and, 336-337 American Advertising (Sivulka), 31
components of promotion, 331 Sony, 330
defining forms of, 323-324 Sound effects. See Music/sound effects
event marketing and sponsorships, 334—336 Spacing, of type, 109
guerrilla marketing and, 337-338 Specialized programming, in television, 274
point of sale/point of purchase and, 332, Specialty magazines, 198-199
333,334 Spell-checker, 190
promotional strategy and tactics, 329-330 Spelling. See English grammar
public relations (PR) and, 333-334 Spivak, H„ 19, 72, 78, 122, 204, 215, 292
tips and techniques for, 332 Split headline, 158
types of, 325-329 Spokespersons/celebrities
consumer sales promotions, 325-328 campaigns and, 139-140
trade sales promotions, 328-329 in television, 285-287
the “War Story” about, 338 See Testimonials/case histories
“Words of Wisdom” about, 337 Sponsorships, 302, 334-336
Sales support, 329 Sports celebrities, 289
Salvation Army, 63 Sports Illustrated, 91
Samples, 325 Spot color, 114
Sanchez, M., 43 Spreads, 200
Saturn, 85 Standardized advertising, 68, 69-70
Sayre, S., 131 Starbucks, 27, 338
Scenario, in television, 280 Static boards, 218, 219
Schlitz beer, 22 Steel, J., 31, 136, 147
Schwartz, T., 27 Stock books, 126
Scrapbooks, 106 Story components, 179
Screen Actors Guild (SAG), 282 Story lines/situations/catchphrases, 140, 288
Screening back (ghosting), 114 Storyboards, television, 279-280
 INDEX 387

Strarch, D., 28 story line, 288

Strategy development, 19 vignettes, 288
Subheads, 163-164 Super Bowl trends in, 296
Sullivan, L„ 14, 23, 24, 45, 86, 97, 225, technology and current trends in, 276—277
258, 267, 273, 289, 342 terminology and commercial directions,
Sun Microsystems, 307 277-278, 369-372
Sunbeam Corporation, 67 tips and techniques for, 292
Super Bowl, 289, 296 the “War Stories” about, 291, 294
Sutherland, D., 138 “Words of Wisdom” about, 289, 290,
Sweepstakes, 325 292,293
Symmetrical design, 103, 105, 106 Temporary price reductions, 326
Synergistic effect, 337 Tesch, M., 351
Synergy headline, 151 Testimonials/case histories
concepting and, 84—85
Taco Bell, 138 radio advertising and, 256, 257
Taglines, 140, 165-171 television and, 285—287
benefit of ad support and, 171 Thematic qualities, in writing, 105—106
the creative tree for, 169-171 Theme lines. See Taglines
introduction on, 14, 165 Thomas, D., 140, 285, 286
primary purpose of, 166-167 Thompson, J. W., 65, 225
tips and techniques for, 167-169 Three-dimensional boards, 218, 219
See also Headlines Three-dimensional mailers, 236—237
Talent, casting, 258-259, 276, 282-283 Timberlake, J., 293
Tango, 327 Time, 342
Target, 63, 64, 207,211 Time constraints, of radio, 259
Target audience, 38-39, 140—141 TiVo, 274, 276
Team presentations, 357 The Today Show, 338
See also Presentations Tone statement, formal, 45-46
Teen market, 70 Top-down layout, 114—115
Television advertising Toyota, 176
advantages/disadvantages of, 274 Trade contests, 328
biographical sketches, 297 Trade sales promotions, 328-329
checklist for, 295 Trade-show handouts, 347
creative challenges and opportunities Trade shows, 329, 330
for, 275-276 Trademarks, 14
creative techniques for commercials, Traditional copy, 179
288-291 Traditional direct mail (TDM), 232
humor in TV, 289-291 See also Direct mail advertising
MTV influence, 288—289 Training programs, 329
other trends in concepts, 289 Transit advertising, 220-222
global campaigns and, 293 See also Out-of-home advertising
introduction on, 273 Transitions between scenes, in
methods of conveying concepts, 278-280 television, 283
key frame form, 280 Trends, in color, 113
scenario form, 280 Trinklein, M., 294
script form, 278-279 Trout, A., 20, 22
shot selection, 282 Trump, D., 326, 327
storyboard form, 279—280 Truth, Lies and Advertising: The Art
transitions between scenes, 283 of Account Planning (Steel), 31,
political commercials and, 293, 295 136,147
procedure for presenting, 296 TV Guide, 107
production considerations in, 281-284 Twist concept, 160, 161, 261
casting talent, 282—283 Type-dominant layout, 105
costs, 281-282, 284 Typefaces (fonts), 106, 110
styles of commercials, 284-288 See also Typography
demonstration, 284—285 Typography, 106-111, 227
musical, 288 creating better layouts, 110-111
slice of life (problem/solution), 284 placement of, 108-110
spokesperson (testimonial), 285—287 styles of, 108
388 ADVERTISING STRATEGY

Unilever, 69 deciding on static or active content,

Unique selling proposition (USP), 50 304-305, 306
United Airlines, 67, 168-169 personal portals, 307—308
Unity, principle of, 104-106 programming the site, 306—307
University Web sites, 32 site map planning, 303
USA Today, 208, 210, 211, 214 template/content considerations, 303—304
USPS, 210 writing content guidelines, 305—306
See also Internet advertising
Verbal visuals, 102 Web site sources, 31-32, 126, 271
Versatility, 173 Web spiders, 317
Victoria Secret, 289 Weblogs (blogs), 319-320
Vignettes, 288 Weekly World News, 212, 214
Violence, 93 Weight, of type, 107
Virginia Slims, 61, 335 Wells, H. G„ 15, 68
Visa, 167, 287 Wendy’s, 165, 285, 286
Visual flow patterns, 101, 102, 114 Wheaties, 165
Visual metaphors, 83, 84 Whitespace, 104, 106, 111
Visuals, finding, 125-126 Widows, in type, 110
Visuals, selecting, 101, 120-123 Wilke, M„ 64, 65
Voice talenf, 138 Wilkins, D„ 53
Volkswagen (VW), 2, 3, 100, Williams, R., 101, 102
146, 288 Williams, S., 53
Volvo, 21, 276 Williams, V., 53
Wimpy words, 186, 187
Wal-Mart, 112-113, 208 Witeck, B„ 64
Walker, R., 59, 65 Wolverine, 91
Wall murals, 222-223 Women, in advertising, 58-62
See also Out-of-home advertising Woods, T„ 52, 139, 289
Wall Street Journal, 337 Wordplay/puns, 159, 160, 167
Walton, S., 113 World Wide Web, 317
Weasel words (generic benefits), Wright, B„ 212, 215
184-185, 187 Writer, 8
Web content, 173 Writer’s block, 95
Web Developer’s Journal, 316
Web/interactive media writer, 8 Z pattern, 115
Web ring, 320 Zeppelin, L., 167
Web site design, 302-308 Zubizarreta, T., 56, 73
 About the Authors

Tom Altstiel is Creative Director and Partner at Prom Krog Altstiel, Inc. (PKA),
a Milwaukee-area marketing communications agency. He has been a copywriter
and creative director at several Chicago- and Milwaukee-area agencies, work¬
ing on accounts for consumer, business-to-business, and agricultural clients.
He earned a Masters degree in advertising at the University of Illinois—
Urbana/Champaign and has been teaching at Marquette University as an
Adjunct Instructor since 1999. In 2003 he received the Dean’s Recognition
Award for Outstanding Part-Time Faculty, and in 2004 he advised the
Marquette team at the NSAC finals in Dallas.

Jean Grow is Assistant Professor in the Department of Advertising and Public

Relations at Marquette University. She earned her PhD from the University
of Wisconsin—Madison and her BFA from the School of the Art Institute of
Chicago. She has won numerous teaching awards, including placing third in
the national Promising Professors Awards sponsored by the Association for
Education in Journalism and Mass Communication. Although teaching is her
passion, she continues to keep herself active in the ad business through her
consulting firm, Grow Creative Resources. Prior to moving to Wisconsin, she
worked in Chicago as an artists’ representative; her agency clients included DDB
Needham, Foote Cone & Belding, J. Walter Thompson, and Leo Burnett.

389
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Written in an accessible style, Advertising Strategy: Creative Tactics From the Outside/In
gets right to the point of advertising by stressing key principles, illustrating them, and then
providing practical information students and working professionals can use. Unlike many
mn^
books that focus only on advertising created for large consumer accounts, this text also
STaW covers business-to-business, in-house, and small-agency advertising. Authors Tom Altstiel
and Jean Grow provide students with a unique blend of real-world and academic perspectives
through their own personal experience as an actively teaching professor at one of the top
advertising programs in the country and a working creative director and agency principal.

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