Tag: DandAd

💎 On self-praise being no commendation

Self-praise is no commendation. (If I say I am the best copywriter in Britain, you wouldn’t listen, if Dan Wieden said so, you might be fooled into believing it.) Also, raw statistics are more convincing than polished opinions. (A car that does 68 MPG sells better than one that’s “outstandingly economical”.) Beware of adjectives. They don’t always do what you think. (You’re all concerned about kitchen cleanliness but would you fancy a snack bar called “The Hygienic Café”?)

Excerpt from: D&Ad Copy Book by D&AD

💎 On copywriting (briefly)

So, gather your facts and get under the skin of your target. Talk to them in their language, not the Queen’s. What else? Be brief. I believe it was Pascal who added an apology to the bottom of a long letter, explaining that he hadn’t had time to write a short one. Why take twenty words to say what you could say in five? Why decide on a long copy ad when a poster-in-the-press will do? For most people, and particularly women who work outside as well as inside the home, money isn’t the most precious commodity these days; time is. We copywriters would do well to respect that.

Excerpt from: D&Ad Copy Book by D&AD

💎 It’s better to express claims as facts (since facts are more believable than claims)

2. Since facts are more believable than claims, it’s better to express claims as facts.

In advertising, claim is often a euphemism for lie. Many of these euphemised lies are specially constructed to wiggle past lawyers and network censors. You can’t say your peanut butter has more peanuts, not without a notarised peanut count, but you can say someone will be a better mother if she serves it. At your arraignment all you have to do is plead Puffery. All charges are dropped. Puffery forgives everything. To lawyers and censors, it’s okay to lie as long as you lie on a grand enough scale. To everyone else, a lie is still a lie, and it’s almost always transparent. That’s why, instead of just asserting that BMW was a good investment, a BMW ad used the car’s high resale value to prove the point. And it did so, not by comparing the car to other cars but to other investments people in that target audience might make: “Last year a car outperformed 318 stocks on the New York Stock Exchange.”

Excerpt from: D&Ad Copy Book by D&AD

💎 Write for you (not I)

It helps if your copy has a natural, conversational style. To achieve this, as Jim Durfee has suggested, imagine you’re sitting opposite your prospect and then, in the guise of the brand you’re representing, write as you’d speak.

This means using language they’ll understand instantly. Which words are they? Well, of the 80 most-used words in the English language, 78 have an Anglo-Saxon root. These are the short, simple words we use every day.

There’s one short, simple word you should use a lot. Read your copy and check that “you” appears three times more than “I” or “we”. This helps you write about the subject from the reader’s perspective.

Excerpt from: D&Ad Copy Book by D&AD

💎 On the best copy (and revolutions)

It’s good discipline for a writer to work at a place that doesn’t believe in writing. I spent three years at BBH, where less was most definitely more. “The best copy” John Hegarty would say, “is no copy.” And: “If the French could inspire a revolution with just three words: “Liberte, Egalite, Fratenite”, why should you need any more than that to sell soap powder?”

Excerpt from: D&Ad Copy Book by D&AD

💎 On writing copy for a specific person not a demographic (it should be a conversation between two human beings)

All the while I have fixed in my mind a mental picture of who will read what I’m writing.

I don’t mean “AB males aged 35-44 with a promiscuous attitude to white spirits.” I mean I think of an actual person, be it a friend, neighbour or relation, who is in the target audience.

When I see that person in my mind, I know what will appeal to them.

That way I can write copy the way I believe all copy should be written: as a conversation between two human beings rather than an announcement from manufacturer to consumer.

Excerpt from: D&Ad Copy Book by D&AD

💎 On copywriting as a form of poetry

And why not? Indeed, I think the best copywriting is a form of poetry. We fuss and fret about the way things sound just as much as poets do. So study their techniques, see how they use language, rhythm and imagery to achieve their effects. Anyway, it’s good for you. What do they know of copywriting that only copywriting know?

Excerpt from: D&Ad Copy Book by D&AD

💎 Before starting your copy, work out where it’ll end

To me, the process of writing a clear, logically-argued piece of copy is a bit like erecting a telephone line from A to B. The first thing you do is to establish the route your poles are going to take, and then put them up in a nice orderly line. Only then do you actually string the wire between them. In other words, get your basic structure right before you’re tempted to start writing. If I don’t observe this discipline, I usually end up in a hopeless tangle of wire.

Excerpt from: D&Ad Copy Book by D&AD

💎 John Stingley on Copywriting

  • Pay careful attention to your first ideas. They are formed with the same innocence, naiveté and lack of jadedness that consumers have when first exposed to your advertising. There is value in that innocence and simplicity.
  • On the other hand, don’t stop too soon. Even if the essence of your first ideas is correct, explore every possible expression of that essence. Write every headline 100 different ways. Advertising is art, and like poetry, every comma will affect the balance of meaning.
  • Understand what the perceptions of your product are no. The current attitude of the consumer is the starting-point and the desired attitude is the finish line. Often, clients are reticent to admit what the current attitude towards them is. You have to make them understand. You can’t start a race in the middle.
  • Once you have placed yourself in the mind-set of the consumer, relax and be human. Don’t be afraid to think cynical thoughts or joke about the product as you work. I’ve found that a lot of great ideas started as jokes which, when explored, could be turned around to make a powerful, positive statement. Ideas that start this way have an honesty the consumer appreciates.

Excerpt from: D&Ad Copy Book by D&AD

💎 Mary Wear (the copywriter behind the line Make Poverty History) on her five copywriting rules

Some (until now) unwritten rules I set myself:

  1. Know when to shut up. The best copywriting isn’t always in the lines. It’s also between them.
  2. Know there’s always a fresh way to tell an old, old story. Stand-up comedians are brilliant at this, taking the most mundane subject — life — and retelling it in ways that make us laugh, wonder and think.
  3. Know your target audience. Not intellectually, but intuitively. Think like them, empathise with them, identify with them. Because at some level, the reader needs to like the writer.
  4. Know that we are all creative creatures. Everyone enjoys the quirks and whimsy of creativity. You don’t have to logic people into a corner, you can charm them into wanting to come out and play.
  5. Clive James said that humour is common sense dancing; Following the great advertising tradition of “borrowing’ from someone much cleverer, I would say that copywriting is persuasion dancing. So if it doesn’t dance, go back and do it again until it does.

Excerpt from: D&Ad Copy Book by D&AD

💎 You’ll never be a good writer of anything if you just sit in your office and stare at your desk

2. Leave the office

Before you even open your pad, open five other things You ears, your eyes and your mind.

You’ll never be a good writer of anything if you just sit in your office and stare at your desk. Your raw material isn’t in the office or in Groucho’s for that matter. It’s out on the streets. Look at pictures. Listen to music. Go to films. See plays. And more importantly look at people. They’re those funny things with two legs we’re meant to be writing about, remember.

It sounds obvious but it’s amazing how many people in our incestuous little business just spend their spare time with other people in this incestuous little business.

Get out. And observe.

For instance, the Castlemaine xxxx campaign would never have happened if my parents hadn’t sent me to Australia to make a man of me. This it conspicuously failed to do. But it did teach me how to get bitten by a wild cockatoo, how to cheat at poker, and fifteen years later how to write a xxxx ad.

Excerpt from: D&Ad Copy Book by D&AD

💎 On making the most of your deadline

Call me irresponsible, but I always wait until the traffic man, appears at the door, purple-faced and screaming for my copy. Then I write it. I find there is a direct correlation between rising panic and burgeoning inspiration. Incidentally, I’ve fully exploited this technique for writing the piece you’re reading now. My apologies to all at D&AD.

Excerpt from: D&Ad Copy Book by D&AD

💎 On giving the reader permission to believe

Despite universal cynicism towards salesmen in general and ads in particular, there’s a part of us that really wants to believe we’ll have more and better sex if we use a certain aftershave or hair conditioner. Unfortunately that part is patrolled by a beefy armed guard who can easily wrestle inanities like this to the ground. What our beefy armed guard needs is enough supporting logic to accept your premise and not look like an idiot. DDB’s advertising for Avis didn’t just say Avis tried harder; it said when you’re only number two you have to — or else.

Excerpt from: D&Ad Copy Book by D&AD