Adweek copywriting handbook pdf download

Many articles written for magazines use similar graphic elements to get you into their stories. And there are even more techniques to create the slippery slide that I will cover later in this book.

So stay with me as we cover the timely topic of assumed constraints. If you have, you might notice that the elephant has a metal collar around its leg to which is attached a small chain. And the chain is attached to a wooden peg driven into the ground.

Pretty good protection? Pretty lousy, if you ask me. That 12,pound elephant could very easily pick up its foot and with one fell swoop yank the peg out of the ground and walk away. When that elephant was still a baby, that same collar and chain and peg were used to hold the elephant in place. The re- straint was sufficient to hold the baby elephant in place even if it wanted to break away.

And break away is indeed what the baby elephant tried to do. So every day while the baby was chained up, it would pull at the chain and pull and pull until finally a cut appeared on its leg exposing the sore sensitive layers of deep skin tissue. It hurt to pull like that and soon the baby elephant, realizing the effort was both futile and painful, stopped trying to escape.

Elephants Never Forget As the baby elephant grew older, it never forgot that bad experi- ence with the chain and the peg. We all have the power to be great copywriters. But at one point in our lives, we may have written something and gotten a bad grade in English. Or we may have attempted to communicate some- thing in writing to somebody else and had a bad experience as a result.

If you understand the hurt and you understand some of the constraints we put upon ourselves, then you are better able to cope with breaking out of those assumed constraints and becom- ing anything you want to be and accomplishing anything you want to accomplish. Let me cite some examples. One of the best is the following nine-point puzzle. I gave this puzzle to my students as an example of an assumed con- straint. The rules to solve this puzzle are very simple.

You must draw four straight lines and connect all the points without taking your pen off the page. In short, all the lines have to be connected. Please do the puzzle before reading on. The solution is in Appen- dix A on page Turn to it now for the answer. As you can see, you were constrained by the box surrounding the points and did not go out of the box in order to find the solution.

A good example of assumed constraints was my choice of mailing lists for my first direct mailing when I sold the first pocket calculator by See if you can mail. I had to select 10 mailing lists for my 50,piece mailing connect the dots and I picked eight good lists that made a lot of sense to me.

I chose the mail your pen order buyers from a certain catalog that sold similar products. But off the paper. But I went along with the list broker and to my surprise, those lists he suggested turned out to be the best ones, while the others really pulled poorly.

I can point to hundreds of assumed constraint examples that I personally experienced. Here are five of them: 1. How are you going to sell it via mail order?

People need to try them on first, and besides, people buy different styles. Or how about the following three business examples of other historical assumed constraints: 1. Smith then went on to found FedEx. If you believe in your idea, do it. Step out of those assumed constraints. This concept also applies to coming up with marketing so- lutions.

Sometimes that big idea will come to you if you step out of the traps that we very often fall into. Step away from the problem, think of some possible situations that have nothing to do with the problem and guess what? As you proceed in this book, remember the baby elephant and the nine-point puzzle and break out of those assumed con- straints. A shopping center that increases traffic will generally see an increase in sales for its stores. And since the traffic generated by these stores can only be compared to getting a prospect into your copy, you increase traffic by increasing readership.

At the end of a paragraph, I will often put a very short sentence that offers some reason for the reader to read the next paragraph. So read on. Now here comes the good part. These seeds of curiosity cause you to subconsciously con- tinue reading even though you might be at a point in the copy where the copy slows down.

This concept is used a lot on TV be- fore the show host goes to a commercial. Stay tuned. Notice how I just used it. And using these seeds of curiosity en- hances most copy. Later in this book I will be showing examples of seeds of curios- ity at work in many of my ads. Use them; they are very effective. Seeds of curiosity can be used at the beginning of an ad where you mention some benefit or payoff that you are going to reveal somewhere in your copy.

In short, the reader has to read the entire ad to find it. In that ad, you had to read the entire copy before you got to the punch line. A great example of both seeds of curiosity and traffic is what happened to me at my office. A Very Unusual Call I received a call one day from a very sensuous-sounding young woman who called herself Ginger.

Sugarman, I love you. I really believe that I can tell a great deal about you from what you write and I really believe in you and truly love you. Even before I received her call, I had gotten comments from people who claimed that my personality really came through in my copy. And I believed it. If you are dishonest, it is sensed by the reader. If you are hiding something about a product you are describing, it comes through. And it is the combination of all of these impressions that creates the buying environment that we referred to in Chapter 6.

If you study the copy of others, you can sense what they are like from their copy. But back to Ginger. She continued. Sugarman, you are the only one who could help me. Please, may I have an appointment to see you, privately? She was a beautiful blonde with long legs and a miniskirt so short I was embarrassed to have her sit down. Sugarman, may I call you Joe? I have admired your copywriting for years. I really need you. She then continued. I know that when the shopping center is full, I get a percentage of that traffic and they buy my cosmetics.

I also know that when the shopping center is empty, I get a smaller number of people who come to my store. All I needed was half a percent return rate to make a nice profit. I borrowed from my friends. I ended up with one-tenth of what I needed to break even. I need you to look over my mailing piece and just tell me what went wrong with it. Was I being propositioned in return for my help? Was this all a ploy or a guilt trip to get me to write her next mailing piece?

I was a happily married man with two children and quite busy running my own business. I was convinced she was in my office to seduce me. No question about it now. I was convinced that she was determined to entice me into writing copy for her. But I wondered how far she would go. I was soon to find out. She pulled out her mailing piece and handed it to me.

I ex- amined it for a few minutes, read the copy and studied the entire package. I also asked her which mailing list she used. I looked at the mailing again and saw many problems. Even the copy in the letter was very poorly written. It was a horrible presentation. You already know the principles on traffic. I Explained the Problems After I explained to Ginger the problems with her mailing piece and mailing list, I brought out another very important fact about direct response advertising.

You just mailed to too big a list. You could have picked just 5, names and not 50, names for your mailing. And then you would have known if the mailing was successful without risking too much money. I mean really help me? Like write the copy for the mailing piece, help me pick the proper list and guide me as my mentor? Plus, I have established a seminar in the north woods of Wisconsin where I take 20 people and teach them as a group.

In fact, there have been very few times in my life when I have been at a complete loss for words. But wait. This is a book on copywriting and not about the secret goings-on behind the doors of successful direct marketing executives who are perceived by beautiful cosmetic executives as the answer to their dreams.

But not here. I want you to continue uninter- rupted with my thought process on copywriting, so I have de- voted Appendix B on page to the rest of the story—an episode that actually took place in my office and that could be part of a very steamy novel.

Once you understand the concept of traffic in retailing and how it relates to direct marketing, then you should realize how important the slippery slide concept is in getting the reader to read the entire text of your ad.

And one of the most powerful techniques to keep your slippery slide greased is the use of seeds of curiosity. Your readers must get into your copy. They must read your headline and be so compelled to read further that they read your subheadline. Then they must be so moved that they read your first sentence. Once you understand the slippery slide and the seeds of cu- riosity, you will have two of the most powerful copywriting tools you can use. Keep the copy interesting and the reader interested through Axiom 8 the power of curiosity.

You learned that all the elements of an advertisement are designed to get prospects to read the first sentence, and we showed you how to get them to start reading your copy by creating a very simple first sentence.

And then we told you how important it is to get the second sentence read and the third and so forth. We mentioned nothing about benefits or features of a product because the sole purpose of the copy was to first get people to read the copy. The benefits come later. And then we covered the environment you create at the be- ginning of your copy.

We explained the importance of resonating with your reader by getting the reader to say yes, believe you or agree with your assumptions.

We expressed the importance of the reader slipping through your copy as if on a slippery slide—reading the copy so they can traffic your ad—and we gave the example of Ginger and her failed mailing. And we just showed you how seeds of curiosity work to keep the slippery slide fully greased. There are only a few more points to learn to have the complete foundation upon which you can build your skills and write great copy. I can still remember the first seminar when I taught these same philosophies.

At the end of the course, a Texas farmer named Frank Schultz, inspired by the seminar, shut himself in a room at the nearby Holiday Inn motel and wrote his first ad for the grapefruit he wanted to sell nationally in a print campaign in major magazines. His very first space ad was so powerful that it sold more fruit than he could pick and ship. Emotion in Advertising This chapter is about emotion in advertising.

And there are just three points to remember about the subject. Emotion Principle 1: Every word has an emotion associated with it and tells a story. Emotion Principle 2: Every good ad is an emotional outpour- ing of words, feelings and impressions. Emotion Principle 3: You sell on emotion, but you justify a purchase with logic.

Why do you think people buy the Mercedes-Benz automobile in the United States? Is it because of the rack and pinion steering or the antilock braking system or the safety features? Other cars have the same features, so why spend a fortune to buy one when, for a fraction of the cost of a Mercedes, you can get an American or Japanese car or even a Volvo that has many of the exact same features? The answer: We buy on emotion and justify with logic.

I know that when I first bought a Mercedes and my friends saw it, I told them that the reason I bought it was because of a series of technical features that I found very impressive. The real reason I bought the car was not for the technical features at all. I wanted to own a prestigious car and belong to the crowd that drove a Mercedes. But when I had to explain the reason for my purchase, I ended up using logic—something that I really believed was correct when I used it.

Mercedes Advertising Look at a Mercedes ad. Since the Mercedes advertising agency knows the real motivation behind the purchase of their cars, they focus on the reasons people use to justify their purchase. All their ads talk about the terrific drive you get or the technical features that make the car a breed apart. The car is sold by virtue of its emotional appeal and then justified in its advertising by an appeal to logic.

Look at the emotion of a message conveyed in the form of a song. The music is like the vibration or that special harmony that you work at creating in an advertising message. If the music ap- peals to the audience and their soul, they are really set up to re- ceive the sales message—or in the case of a song, the words, which incidentally also have an attached emotion.

A song is simi- lar to an advertisement. Take a song and say the words without the music and it may sound rather funny. I love you. Ooh pappa doo da ditty. The emotion or the feel of that phrase really says that we are a very respectful and understanding company that will return your money very promptly. With very few words, I con- veyed the feeling of being a concerned company that acts promptly.

And even though the phrase makes no logical sense, it has been picked up by several direct marketers and used in their catalogs and print ads. Often, a phrase or sentence or even a premise does not have to be correct logically. As long as it conveys the message emotionally, it not only does the job, but does it more effec- tively than the logical message.

A good example of this was an ad I wrote for a device that had a breakthrough digital calculator display. The new display showed both alphabetical and numeric characters. And because it had such a large memory, you could use it to hold the phone num- bers of your friends along with their names.

There were several reasons they failed, but one of the main reasons was the way they pitched the product—on a logical level. They tried to explain what the term alphanumeric meant in a display and how much memory the unit had.

The ad was filled with facts and logic, and because it was such a new breakthrough product you would think it would sell just based on logic. On a lark, I decided to sell a similar product myself in my catalog.

Canon Corporation had approached me and told me that if I took their product, they would give me an exclusive for sev- eral months as long as I advertised it nationally. You feel the pressure. To the startled eyes of those around you, you pull out your calcu- lator, press a few buttons, and presto—the phone number appears on the display of your calculator. A dream? Absolutely not.

The Emotional Approach The ad was a terrific success. We eventually placed the ad in dozens of magazines and while the other competitors dropped out, we succeeded handsomely. But look at the emotional ap- proach I used.

I just knew the nature of the product and the person buying this prod- uct. Each product has an inherent nature, and understanding that inherent nature will help you sell it. I realized that the product would appeal to the gadget-motivated person who would want to show it off to his or her friends. The ad copy reflects this specific knowledge.

The real motivation for people to buy this product was the emotional appeal of the sales message. I was invited once to speak at New York University to a class on direct marketing. As I addressed all the students on copywrit- ing, I told them that if I was handed a product, showed it to the class and told the class to write an ad on the product, I would venture to say that everyone in the class would write a better ad than I would.

I then went on to explain the editing process and its importance. But the reason, I explained, for my ad appearing so poorly written in my first draft is because it is simply an emotional outpouring of my thoughts on the product and how I feel it should be sold.

It is a free release of my emotions. And as you write copy, keep this in mind. It makes absolutely no difference what your first draft looks like. If you can get all your feelings and emotions about the subject out on paper and work from there, you will have mastered a very important technique. The final point on the emotion of copy relates to words themselves.

If you realize that each word has an emotion at- tached to it—almost like a short story unto itself—then you will also have a very good understanding of what emotion means in the copywriting process.

Look at a dictionary not as a collection of words but as a collection of short stories. The power of words is enormous. Words Have Strong Emotions Attached What emotions do you feel when I mention the following words: Cleveland, rip-off, consumer, farmer, lawyer, Soviet? Cleveland may have evoked a little laughter as a place you might not con- sider moving to unless you live in Cleveland, and if you do live there, please accept my apologies. Cleveland is a very nice city.

The Russian comedian Yakov Smirnoff once said that in Rus- sia they also have one city that the Russian comedians make fun of. He says it too is Cleveland.

And then what do words like consumer and rip-off make you feel? The word farmer may not only remind you of what a farmer does for a living but also bring to mind words like honesty, in- tegrity, earthy, hardworking. Think of all the feelings the word farmer conjures up, not only from your experience but from what you feel emotionally.

The word Soviet sounds more sinister to me than Russian. What thoughts come to mind with the word lawyer? When you analyze these words and see how you can use them to create a message that has emotional impact, then you have mastered an important lesson in writing copy. Which sounds better? Example 1: The old woman in the motel.

Example 2: The little old lady in the cottage. I was writing an ad on some rubbing oil I had discovered in Hawaii and describing how I had discovered it. Example 1 was in my first draft but example 2 sounded much better. In this case, the motel office was in a small cottage, and the word cottage gave the copy a better emotional feel.

What do you think? Sometimes changing a single word will increase response in an ad. John Caples, the legendary direct marketer, changed the word repair to the word fix and saw a 20 percent increase in response. It takes test- ing and common sense more than anything else. And knowing the emotional feel of words is like your general knowledge—it comes with time. It is enough for now that you realize the impor- tance of the emotional values in every word. As time goes on, you will feel this influence play a bigger and bigger role in your successful copywriting.

In fact, if you can understand and learn this single point, you will have mastered a major lesson in writing good advertising copy. Never sell a product or service. Always sell a concept. There are many words that mean the same thing. One day, for example, the hot buzzword in advertising might be positioning.

A product is positioned or placed in such a way as to appeal to the consumer. You sell the sizzle and not the steak—the concept and not the product. The only exception to this rule is when the product is so unique or new that the product itself becomes the concept. Take the digital watch for example. When the watches first came out, I could hardly keep them in stock. When I first announced them, my main thrust was to explain the various features, which were all new, and then just take orders.

But as the digital watches became plentiful and everybody understood what they did and how they worked, each ad had to differentiate the features of the watch through a unique concept. Con- cepts started selling watches; the product was no longer the concept. Another example is the Pocket CB. It had its concept right there in the headline. And it was the name itself that expressed the concept.

Or take the example of the Pocket Yellow Pages I referred to in the previous chapter. Another example was a smoke detector I was selling. It sold quite well. Combining Products into Concepts Sometimes the concept naturally comes from the product and other times the concept can be created. I remember once running several products in my catalog without much copy and discover- ing two that sold quite well. Rather than run them as separate products in full-page ads, I decided to run them together in one full-page ad as a concept.

The two products were a miniature travel alarm and a chess computer. The headline put both products under a single concept and made them both winners while drawing attention to our catalog. Sales continued briskly with the chess computer in when I received a call from the company in Hong Kong from whom we were importing the product. A confrontation between American space-age technology and a Soviet psychological weapon.

Copy: The Soviet Union regards chess as a psychological weapon, not just a game. Karpov won. Of course the copy continued to talk about the challenge we were making against Karpov. That was the concept. We were selling the challenge against the Russian champion and as a consequence selling chess com- puters. It was taking a very staid product and giving the entire promotion a more emotional appeal. Then the ad went on to explain how the unit worked, its features and ended with the challenge to Karpov.

The ad had some pretty effective copy. Read it. Soviet Intrigue I was sitting in my office as the ad was breaking throughout the United States when I received an urgent telegram from overseas. Opening it up, I saw right away it was from Karpov. I was told that I had permission to use his name by my friend Peter, who said, in fact, that he would be sending me the endorsement contract and that I should go ahead and run the ad.

So I did, thinking all was okay. What to do? Karpov would endorse the chess computer and I could continue my ad campaign. Instead he could just endorse it and hope that many Americans would learn to improve their chess game on it. Concept Selling Does Well All three ads did very well and more than 20, chess comput- ers were sold.

And all three had different concepts associated with them. Meanwhile, my competition was out there in force trying to sell their chess computers but not succeeding because they were selling chess computers and not Soviet Challenges and Karpov Accepts—concept advertising. If your advertising just sells the product, be careful. You need a concept.

Price Can Also Affect Concept Sometimes simply changing the price of a product can dramati- cally alter its concept. Finding the concept is often not easy. It takes all the skills of a conceptual thinker to come up with the right idea and the right position.

One of my favorite advertisements that really captured the essence of this chapter was an ad I once read from the Leo Burnett ad agency. It was a full-page ad that ap- peared in Advertising Age magazine and is reproduced on the next page. Because somewhere, right there in the product itself, lies the drama that will sell it to people who want it.

There may be 10, ways to bring that inher- ent drama to the stage. It is. But every good product has it. And every good agency finds it. Every product has that unique selling proposi- tion that makes it stand out from the rest. If you do, the simple positioning of a product and the developing of a concept can be so powerful that it can make the difference between a huge success and a loser.

What are some of the mental steps required to write copy in general and how do you go about writing effective copy? As you recall, I referred to general knowledge—the knowledge you have picked up simply by living—and specific knowl- edge—the knowledge you acquired while studying the specific product you want to write copy about. Assume you are now an expert on a particular product and you are ready to start writing.

The first thing I would do is go over all the material you have on your subject and give a great deal of thought to what you have just read and studied. Do plenty of thinking about what you want to write.

You may jot down some headlines and some of the copy points you would like to bring out. You might list those points that best describe the nature of the product you are selling and you might like to list some of the strong reasons that your product would appeal to Take a break your customers. Put all your thoughts down on paper. But keep from your in mind, you have not yet started to write the copy.

This is just work and preparation. You might even visualize the end result of your work. Do something else. Forget about the pro- ject. Do something pleasurable—a stroll in the park, a walk down the street or lunch with a good friend.

And your mind is then taking all of that data and running it through everything you know about copywriting and communications, mentally prepar- ing the first version of your ad copy. It is taking this information and working through the millions of permutations possible to come up with the best solution to your marketing problem. This en- tire subconscious activity is called the incubation process, and the time you are giving to it is called the incubation period.

Your subconscious is processing millions of bits of data like a computer in your brain running a very important program in the background. Then go to your desk and start writing down some of that good stuff your subconscious mind has created and organized for you.

You never do. The results may not be as good, however. The time pressure only increases the incubation process and speeds up the assimilation of data in your brain. This could also mean working on one project, then going to another and subsequently coming back to the first one. This is another way of allowing you the luxury of having your subcon- scious mind work on a project while you do something else.

The incubation process actually works best with pressure of some kind. If you have no pressure, your brain will not work as fast or as efficiently. So it is a balance of various pressures that produces the optimum results. What causes pressure? We already know that time causes pressure but there are other factors as well.

Ego for example. If you have a big ego, it creates a certain amount of pressure. This pressure can be very positive in the incubation process. Your creative orientation plays a role, too. For example, if you are naturally creative, you have a big advan- tage over someone who is not.

And finally, the environment plays a role. If you are in a creative environment that encourages those incubation activities required in the creative process, it will help the incubation process along.

In this chapter, I just want you to realize that there is a constant process going on in the back- ground of your brain. And with the proper balance, you can create blockbuster copy by allowing the incubation process to function. The biggest mistake a manager can make in a mail order company is to have the creative department in the same building as any other department in the company.

Imagine the operations people walking in to see the creative people incubating—staring into space or taking a long break with one of their peers. But the creative department needs that atmosphere in order to function to its optimum. When it comes time to sit down and knock out that copy, discipline comes into play. Well, hold back the stuff on spelling and grammar just long enough to let the copy flow out freely.

The right brain does the intuitive or emotional thinking and the left brain does the logical. Which side of the brain should write the copy? The right brain of course. Let the copy flow out of that right brain and let it pour out unencumbered by any left-brain restraints. The pouring out of that copy or idea is the culmination of the incubation process. It is the end result of all the mental activ- ity that has been running in the background. And so, the axiom that I suggest you remember is: Axiom 10 The incubation process is the power of your subconscious mind to use all your knowledge and experiences to solve a specific problem, and its efficiency is dictated by time, creative orienta- tion, environment and ego.

Next comes the fun part—the editing process. Chapter 14 I ncubate, slippery slide, seeds of curiosity—all may be neat concepts, but often at my seminars the question would come up: Do people read all the copy in your ads? Students of direct mar- keting learn that there is no such thing as copy that is too long. And there is some truth to this. The key is simply this: Copy is never too long if the reader takes the action you request. The copy must be so compelling that it will be read from the be- ginning to the end.

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