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D&AD: The Copy Book. D&AD. D&AD: The Copy Book. ISBN: | pages | 10 Mb. In , the D&AD published a book on the art of writing for advertising. Though now outdated, the best-selling book remains an important reference work. D&AD ISBN: | pages | 10 Mb Download D&AD: The Copy Book D&AD: The Copy Book D&AD Publisher.

These will be described later, but just as important as the technological ability to target virals, run text votes and create media events is the ability to think differently. So desperate are companies to keep their margins and their brand alive that they have finally been forced to confront the one tool that can do this for them. Mark Hughes makes great play and apparently reasonable wealth from this observation in Buzzmarketing. The principle idea is, as the subhead has it, to get people to talk about your stuff.

Buzz is what was previously called word-of-mouth, with the difference that buzz is intentional and planned for, where word-of-mouth is accidental.

But this difference is a semantic one. Where he gets comedians to dress up in funny costumes and hang round certain venues he says it is to generate buzz, and that this is a new concept. Mediocrity is a waste of money at the best of times. As the degree of advertising congestion in our culture reaches its Mr Creosote moment, mediocrity is a sin, or at least a very large mistake.

Hughes wrote in Admap in how a US retailer carefully funnelled several million dollars into conventional advertising which caused not a blip on their sales. The point is, it is not the medium or the personnel that is wrong, it is the mediocrity of both. I know from my own experience that even a large media spend can disappear in the melee never to be seen again. I too worked on a large client, a bank, which marked a decline in its fortunes some years ago by running a series of ads notionally created by their customers.

The commercials were intentionally low key, ordinary feeling, amateurish but charming. It was a nice idea and probably made for a good presentation.

But nobody seemed to notice the campaign. Nobody remembers them. This was no small campaign. It consisted of 14 TV commercials, one after the other, aired at prime time to the whiff of several million going up in smoke. I only remember because it was conceived in an office near to the one I worked in at the time and to replace a long-running and resoundingly successful one of my own.

It seems the only thing you can do in such situations is to write a book. Today the big, big clients feel they can turn their backs on the big, big agencies and cosy relationships of yore, and focus on the importance of having the big, big idea instead. The big idea might come from a big agency, or a small, three-person outfit, or the German office of a little known European agency, or a single mad Swedish person working in their own post room.

The interesting point that Mark Hughes makes is buried deep in his book.

Nor is the fact that people will talk about interesting things. The point is that unconventional ideas are more powerful than ever before because: Technology is accelerating word of mouth. Mark Hughes, Buzzmarketing, This is the big difference.

This was because the story had the chance to blow up, by means of e-mail and tabloid journalism, from a tiny non-event, to a 24 Eight Copywriting Rules Watergate-scale international issue on which everyone had a view. The two protagonists had to retire from public life for a few days after having unwittingly entered it. The buzz that Heinz got from their intervention was magnificent and Mark Hughes would do you a great graph to prove the benefit of buzzmarketing on the back of it.

The benefit is certainly there, but it comes from the story, the interest, the technology, the authenticity. For the industry professional the point is not that you should throw all you media budget into predictable press releases, but that your creative content needs to compete with such Olympian feats of attention getting. You can do so without necessarily relying on conventional media and agencies, without relying on carefully crafted posters and sterile arguments about logos.

Along with simplicity, try topicality, authenticity, credibility, originality, humour. Good service Another point that Mr Mullen unintentionally makes with his headline-grabbing comments is that anyone can now do the fun bit of a creative idea. But it works powerfully.

Somewhere in the bowels of London Underground management, someone had a brainwave a year or two ago. The Underground system is, or rather was notoriously unreliable.

I travelled on it daily and spent many an empty minute on platforms listening to delays announced over a poor PA system, amid a low chorus of commuter moans and stressed gibbering. The entrance halls were decorated with badly spelt apologies for signalling problems or dark references to industrial action, a person under a train at Mortlake or overrunning engineering 25 How to Write Great Copy works. Customers hated the system, hated the staff, hated going to work, hated London.

D&AD and TASCHEN release digital edition of iconic ‘The Copy Book’

Starting every day like that, they ended up hating everything, going to Mortlake and compounding the problem for everyone else. Enter the uncredited employee. Uncredited employee noticed that tourists, who simply turned up for a brief period and used the tube for one-off trips thought it was a wonderful system, even the best underground system in the world.

Objectively it really was doing a very good job. It was the size of the operation that meant that there was an awful lot of bad news to report every morning. In the spirit of Harry Beck, designer of the original Underground map, the uncredited employee devised a simple graphic solution. Overnight, in every station, there appeared a chart showing, in the left-hand column, every underground line, and in the right a word or two as to their status. This might sound trivial, it may not be rewarded, if only because the messages were and often still are expressed through felt tip pen rather than type, but the impact, both daily and in general on public perception and on employee morale has to be enormous and representative of what good communications are about.

The main one is that for some reason, being told the golden rule of this or that walk of life is a nice enough experience, but when you think about it, little practical help.

They are also, usually, people who have a gift for making a vast and complicated situation seem simple. Passing on generalizations may inspire, or it may simply induce an admiration for the person doing the passing on.

For that reason, the eight and a half rules are in their logical order for writers as they contemplate starting work.

Accurate, honest and up-to-date information is where the finished product is invisibly roosting. Once the rules of relevance and objectivity have inspired the production of something worthwhile, the next two rules kindly point out the futility of being merely worthwhile.

The only succour for the human soul can be found in the last chapter, on ambition, and the short word on originality. She is your wife. You insult her intelligence if you assume that a mere slogan and a few rapid adjectives will persuade her to download anything.

David Ogilvy, Confessions of an Advertising Man, Your first move when you get a brief is probably not to think about the target market. Then you may continue to think rather abstractly, but no longer about the situation.

Nor will you find in this book any of the other basics of the getting started variety, such as hints on the kind of pencil you might like to use or layout pads that have proved popular down the years. Some hints and tips on the practicalities of getting down to work are undeniably useful, but they are well covered elsewhere.

Whatever the brief, I would recommend leaving all pens, layout pads, PCs and Macs alone for as long as possible and simply think, or better still, talk. The first subject to think or talk about is the target market. The first goal is to visualize your audience sufficiently well to be able to address him or her in a natural way.

This may lead you eventually to talk to them in a generalized way, to use a youthful message delivery system such as distressed type, shots of young people doing young things like skateboarding or jumping in the air. Know exactly who your target person is, down to what he or she wears, what he or she does in the evening. If you are working for a company that runs research groups or focus groups to canvas views, try, no matter how unappealing the prospect, to attend one or two.

You may actually have to enter the Hades of the focus group. They have their advocates and their detractors, but putting that debate to one side, they are a goldmine for writers.

The main reason for this is the opportunity they offer to eyeball the target market. In fact, the words used at your briefing suddenly revert to the mumbo jumbo you secretly knew them to be when faced with the actual people themselves.

As a human being you are tuned in to receive signals and information about other human beings when you meet them. Just listen to how people are prepared to talk quite naturally about what they look for, or what they hate about the product you offer. Take these Tampax ads, for example. It talks to teenage girls about a sensitive issue, in a way that those teenage girls are unlikely to reject.

That could be achieved with almost any style of advertising for the simple reason that teenage girls are hungry for this information. It appears in a safe environment — the teenage press that they download with their own money and read privately in their own bedrooms.

So, even if the information had been expressed in a crass fashion, with a young model leaping into the air trying to look free, for example, it might still have worked, in a basic way. However, the value of addressing the target market in this more personal and more appealing way, is not just one of aesthetics or even aerobics. By showing understanding of the target market, the manufacturer can benefit from their trust later on.

For The Economist, the success of this apparently simple campaign is directly linked to what it knows of its readership.

They are intelligent and want to be successful. This creates an intimacy with the product that is priceless in binding a consistent readership.

It may seem odd to narrow your customer base when trying to make money. If you think hard enough about your target market, award winners just spring into your head. The following ad was placed on top of a bus, to be read only by people who work in tall buildings. It had to have come from a seemingly banal observation that they tend to work in those big buildings in the middle of town. Lintas a contraction of London International Advertising Services was itself an offspring of the Unilever company, having started out as a department of the company.

The early Lynx advertising was glossy, but unsubtle. In one typical example, a cosmopolitan man arriving in a foreign port bumps into a sophisticated woman causing his wallet to fall to the ground. As she picks it up for him she takes the opportunity afforded to her to inhale his personal odour.

She then hands back the wallet and makes it clear in no uncertain terms that she finds his smell alluring to the point of intoxication. Endline: Lynx. First impressions last. Such advertising disports a certain attitude towards its market. In the case of Lynx this would mean that they gave the product to some of the proposed members of the target market, asked that they use it for a few weeks and that they fill in a form at the end of the process.

The subjects would be asked to score their assessment of the product in terms of smell and effectiveness as well as state their personal position on the issue of body odour.

The brief and the advertising followed in a regimented way straight from that data. And actually, it worked. Unilever saw a successful launch of the product in various countries. The product scored well and its solid performance meant that the same advertising model was used again and again.

Of course, in treating the target consumer like a laboratory guinea pig the conglomerate missed out on some salient details, the most loomingly obvious of which is the fact that they are not laboratory guinea pigs, but human beings. When the account moved to an advertising agency that operated outside of its own corporate structure they were able to see the world from another point of view.

BBH, for it was they, has built its reputation on appealing to the youth market. Apart from assuming that the target market were only capable of Pavlovian responses, early Lynx marketeers burdened themselves with only examining their target consumer through the pinhole camera of his relationship with their product. What Lynx could promise him was not the efficacy illuminated by the contrived situation of a girl sniffing him over like a dog looking for drugs. The promise was what happened once a girl falls into your lap.

And so was born The Lynx Effect. One early manifestation of this idea showed a young man accidentally falling into a prehistoric world inhabited only by young and beautiful women. Using a furry bikini top as a catapult to slay a two-headed monster he not only wins their immediate attention but also the bonus of inducing the whole tribe to remove their own bikini tops and wave them above their heads as weapons of war.

A more elegant second commercial ran some years later, which showed a line up, at the start of a cycle sprint race in a velodrome. As is convention, four cyclists waited at the start line held round the waist by officials.

And the campaign reached its possible apogee with a recent episode in which we see a boy and girl rise from a crumpled bed and get dressed.

In order to do so they take a tour round the streets of a city picking up items of clothing in reverse order to that in which they were discarded. The commercial ends in a supermarket as the two lovers put on their shoes next to two abandoned trolleys.

The more rounded understanding of young unattached males portrayed by The Lynx Effect comes from seeing the world from their point of view. The result is that the campaign is far more resonant and endearing.

Pleasant side effects for the advertiser include a smaller cost of production as they no longer need to throw money at foreign locations for a product whose true relevance resides on the street just outside their laboratory windows.

Oh, and vastly greater sales. It just makes more sense. There is less bafflement of the kind aroused by seeing a woman smell a man on a dockside. The story of Lynx is not unusual. Many brands start out in the market with a clunky launch campaign, obsessed with itself as a product and its ingredients. The successful brands then refine their view of who they are talking to.

It is a conversation played out in slow motion and at great expense, as both seller and downloader get to know each other. Those brands that do survive to refine their message often do so by having a good product or service message in the first place. In some instances, the long-term situation is not affected much either way, but there are others when it can mean the life or death of a brand, or even just life or death.

But appropriate to whom? The media? Old ladies? The problem was that this was a real disease killing real people. The at-risk group were not being well served by millions spent making the right noises to opinion leaders and gossip columnists.

The young and sexually promiscuous were not tuned in to paternalistic threats. It researched the existing government campaign alongside alternatives. Needless to say it was a cartoon, and the campaign was explicit and irreverent. Just as needless to say, it worked far better in research groups.

And secondly, regardless of good taste, men will always pay attention to what their penises say. Marshall McLuhan, Understanding Media, One of the other ways to get to know your target market is to read the papers and magazines that they read, or to watch the programmes they watch.

MEDIA Of course, when considering the media you have to be a little more selective in what you take out than when you are meeting the target market face-to-face. What you see and read, say, in a teen magazine tends to be very homogenous.

In each publication almost everything in them, including the ads, seems to conform to a tribal identity. Remember the 43 How to Write Great Copy magazine or paper itself needs to keep strictly to its house style in order to maintain its identity and reason for download.

You or your client will be paying a healthy price to ride that identity in order to get into the sight line of the reader. Instead, you should research the medium as an extension of the information-loading process started in Rule 1.

In other words, having read the magazine, or the newspaper, or viewed the TV channel, this is not the moment to start writing ads. If we continue the metaphor of the tribe, you are not there to run around in the gang with everyone else, brandishing a spear and making similar noises.

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You are hoping to start a war cry that others adopt as their own. Background research into the technologically evolving media is something that needs to be ongoing, and is hardly unpleasant, as it merely involves watching movies, surfing the net and so on with a curious mind. If you know what can be done with visual effects, for example, it helps you to use them at their best. Slightly more difficult to acquire is insider knowledge of these media.

If your idea is brilliant, but needs more money, fight for that money to be made available. It may seem that lack of money is an excuse for not doing good ideas, because many 44 Rule Two: Do Research impressive ads are very expensive. But in the end the ratio of cheap, good ads to expensive, good ads is fairly even. Note how many great press ads and posters consist of a few words and a logo.

A good idea often creates its own backers. Learn about photography, editing, lighting, film, computers, animation. Learn about production methods, film libraries, music search companies. The Xerox commercial about data lost and not found Tom Thomas, A few others. Also, you gotta dislike or pity the UK Labour party, which seems to maintain its charm right through the late s.

Many of them point out how much the craft has changed in recent years, yet most of the examples shared are older with only a couple of TV spots featured and nothing digital.

Another irony: One of the few female contributors mentions how few women contributed to the s edition, saying she hopes this edition will be more balanced in terms of representation. It's not.

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S There's plenty of wisdom in many of the contributors' advice, but there's also a good deal of pretentious drivel about pencils. Still, I found it to be an inspiring read and good resource as there are some examples of great advertising and some pretty good advice if you're able to separate the wheat from the chaff. A good book for those just starting out especially as it clarifies that there's no right approach to copywriter, but also offers a few ideas of finding yours.

I'm gonna have my copy intern read through it in his downtime.This nebulous state of affairs is also part of your brief. The brief and the advertising followed in a regimented way straight from that data.

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The difference is that they really mean it. I'm gonna have my copy intern read through it in his downtime. John Rampton Entrepreneur, online marketing guru and startup addict Traction said "PR should be part of an integrated digital marketing strategy. The subjects would be asked to score their assessment of the product in terms of smell and effectiveness as well as state their personal position on the issue of body odour. But it works powerfully. What you see and read, say, in a teen magazine tends to be very homogenous.

No matter how much talent and technique is apparent in your advertising, at least 90 per cent of its effectiveness resides in the message you have decided or been given to communicate. Bent co-founder Chel White is an independent film director who began making films in the mids.