The Copywriter S Toolkit The Complete Guide To Strategic Advertising Copy 1st Edition Margo Berman - Solutions

=+3. Speak in an appropriate tone of voice. If you're reaching out to families looking for a fun vacation look at how Disney vacations always sound like exciting adventures.
=+2. Showcase the product features. Explain how the product works, like Apple's product(iPod, iPhone, iPad, etc.) product-demonstration messages.
=+1. Reinforce the benefits. Answer, “Why buy?” Show the consumer the reason to make the purchase. Clearly state what the consumer's going to get from the product/brand. For example: Tide To Go gets stains out when you're out and about.
=+Part 3 Decide which slogan is stronger. Answer why that one works better.
=+Part 2 Select two techniques and write a slogan using each one. For example, create one using parallel construction, another using testimonial, and a third using reason why. Try to include the name in at least one of the slogans.
=+Using the same brand or product in Exercise 1, now look through the list of slogan techniques in the section “Reviewing different kinds of headlines.”
=+Part 4 Write an advertising message that fits into the campaign and blends with the new ads you just created.
=+What other out-of-home or print media could work to spin out this campaign? Would a billboard work? A poster? A direct-mail piece?
=+Part 2 Create two more headlines using the same creative approach. For example, if all the existing ads ask a question, your next two headlines must do the same. If the headlines use parallel construction, yours must too. If the campaign uses humor, your ads must also be funny.
=+Choose a campaign that you relate to. Look for a print campaign with strong headlines.
=+I do more idea generation in four years than in the 10 years before that.
=+What can I do to make this press worthy?
=+Let the idea drive the media, not the media drive the idea. It's purifying. What are you trying to say? What can this campaign do to get attention? Rather than what kind of ad can I do for Domino's?
=+For all media we think in press releases. We write press releases for the big idea. What's the press going to write about?
=+1. Craig Miller, creative director at Crispin, Porter + Bogusky:We used to know what it was going to be: TV, radio, and so on, now I have no idea what it's going to be. It's back to the core idea.
=+6. Become a collector – Save great examples of promotional messages wherever you find them. Use your cell phone to snap a photo. Print out creative work from agency websites. Keep great brochures you may find or direct mail pieces you receive. Yes, there are some great direct mail examples.
=+Keep a mental note of these observations, so you'll refer to them when you're writing for any medium.
=+ Focus on radio commercials. Do the scripts sound contrived or convoluted? If so, why? What make them sound unnatural?
=+5. Become an avid observer – Pay attention to TV commercials you love. Why do you love them? What visual or verbal techniques could you borrow?
=+customize the product excite you? If you're working on a product website that could allow customization for, say, shoes or belts, can you help make that happen?
=+4. Become an online shopper – Okay, you're at the website. Now what?Would a special offer prompt you to take action? Would being able to
=+What makes you participate with the brand? Is what you're developing exciting enough to capture your imagination?
=+3. Become an interactive consumer – What engages you? What piques your attention?
=+were the targeted audience's age. Now, is that message you're writing appropriate for that age group? Is the tone of voice the best one to use?
=+2. Become the consumer – Ask yourself what would make you buy that product? Remember to consider how you would feel and think if you
=+(“Okay, great”), idiomatic expressions (“See what I mean?”), vernacular phrases (“Gotta go”), contractions (“I'm runnin' late”), and connectors (“Yeah, but”).
=+1. Become an active listener – To help your copy sound natural, listen to conversations wherever you are: in restaurants, coffee shops, parks, train stations, gyms, at parties, at meetings, or even in lines at store.Just listen to how people speak to each other. Notice the short phrases
=+Part 3 Could this campaign be used for an ambient message? What type and where? For example, could you create lawn signs for parks?
=+Part 2 Write three headlines in a campaign for different media: out-of-home, bus sides, magazine, or online. Make sure you use the same writing technique for each.
=+Part 1 What kind of “client” could use vernacular in the campaign?
=+Could you create an interactive game on the website?
=+Part 2 Develop another, related message to spin out the campaign. Would you use a different medium like mobile?
=+ Look for consistency in language and graphics. Does the website reflect the campaign images and tone of voice?
=+Part 1 Look at multimedia ads for your local zoo. How did the campaign work for print compared to TV?
=+When you're writing to an audience and don't have a sense of how they process, it's good to use words to target these three senses: touch, hearing, and sight.
=+how you feel,” or “Sounds too good to be true? Well, it is true,” it's talking to the audience in a way that will generate a response from a particular way those people best absorb information, that is in an auditory, visual, or kinesthetic manner.
=+Whenever you see a message that uses language like “Listen up,” “We see
=+The visual person will say statements like, “Can you picture it?” “Take a look at this,” and “See what I mean?”
=+The auditory person will say sentences like, “I like the sound of that,”“Sounds good to me,” and “Listen up.”
=+The kinesthetic person will make comments like “Feels good to me,” “I have a handle on it,” and “I need to wrap my brain around it.” These are the people who kick the tires and have to feel the interior of a car they're buying.
=+by modeling their patterns of language. There are three ways we process information. Most of us are stronger in two of these. They are (1)kinesthetic (by touch), (2)auditory by hearing), and (3)visual (by sight).People will tell you which one they are by the language they use.
=+When used in advertising messages, NLP singles out audience members
=+When people want to change their behavior, they model the habits and gestures of successful people. They change their carriage and gait when they walk. They stick their chests out with pride. Just changing your physiology can change how you see yourself. This can lead you to opening yourself up
=+a million dollars, you'd smile, sit up straighter and feel great, instantly.That's how quickly your mood can change.
=+something that makes you smile, like a baby's laugh, can help you change your mood. This neuro-linguistic link shows the connection between how you feel and how you look. If I told you that you just won
=+7. Connect directly using NLP. NLP, neuro-linguistic programming, also called NLC, neuro-linguistic conditioning, shows the connection between the people's state of mind (mood) and their physical reaction(health). A quick example is the way you cannot smile when you're in the middle of a fight.
=+6. Consider regional dialects. Should you use them? Do they reflect the tone of a regional brand or a specific audience? Do they catch the target's attention? Do they present the brand in an acceptably humorous way without being offensive?
=+customize this deck. They enjoy the process of construction and like to celebrate their creativity.
=+5. Determine VALS language. If you're speaking to “Makers,” you should be talking about how simple it is to build this bookcase or to
=+4. Include relevant copy points. Tell consumers how the product will fit into their lives, solve a specific problem, or fill a need. This is where the copy has a chance to further explain the consumer benefits and the product features. Is the product lighter, faster, safer? What features prove
=+ You will know this if you have insight into your brand's personality and your consumer's core (or key) values.
=+3. Select a familiar tone of voice. Be sure your tone is correct for both the brand and the consumer. How conversational or casual is appropriate?
=+2. Show the benefits up front. No one wants to wade through miles of copy to find out what's in it for them? (Notice “them” should have been“him” or “her.” But, “them” is more conversational.) People want to know the answer to “Why buy?” immediately. Place the benefits in the
=+ Actually make them stop what they're doing at that precise moment in time and hear what you're saying. Keep working until you find an interruptive or disruptive message. For example, this message was on the top of a double-decker bus in London: “For people in high places.” The advertiser was
=+1. Catch their attention with a compelling headline. What could you say that would be intrusive?
=+A good basic selling idea, involvement and relevancy, of course, are as important as ever, but in the advertising din of today, unless you make yourself noticed and believed, you ain't got nothin'.
=+he goes to that restaurant every day. The reason the agency creatives wrote “every day” as one word was for two reasons. First, they wanted the audience to read the slogan like a verbal logo. Second, people would absorb the slogan faster if there were only two words to digest.Hence, “Toyota
=+That's fine in this kind of writing. When Apple used this tagline, “Think Different,” grammarians were upset, saying it should have used an adverb “Think differently.” What Apple claimed was that “different”was a noun, not modifying the verb “think.” Likewise, Toyota deliberately
=+“To whom did you send the letter?” even though the second one is proper English. You want to connect to the audience, not sound stuffy and affected. Some slogans use incorrect spelling or improper English.
=+16. Know when to break grammatical rules – In advertising copy, it's okay to start a sentence with because. Why? Because it works. You can end a sentence with a preposition because that's the way we naturally speak: “Who'd you sent the letter TO?” sounds better to the ear than
=+15. Rewrite until it's right – Don't be satisfied with your first effort.Look the copy over. Is it wordy? Vague? Hard to read? Too complex?Take out superfluous words and unnecessary phrases. Then, reread it.Does it need more editing? Be honest!
=+14. Use a button – This is a clever closing line that does not refer back to the headline. It can be a pun or a witty line that makes the reader smile.
=+13. Think about alliteration – This is another technique you're familiar with: “Sally sells sea shells by the sea shore.” Monday Madness,”“Fabulous Fun Fridays,” “Ho, Ho, Ho!” for the holidays.
=+12. Start writing in the middle – This means don't have a long intro.Jump right into your message or you might lose your reader.
=+11. Use connectors–These are words that tie each sentence or paragraph to the next, like “and,” “so,” “the truth is,” “naturally,” etc. Think of them as little stepping-stones that create a path that leads the reader through the woods.
=+slogan “Good to the last drop,” the closing line could read, “One sip and you'll know why it's good to the last drop.” The closing line doesn't have to repeat the headline word-for-word, just embody the concept.
=+“A” refers to the headline. “B” refers to the body copy. The last “A”refers to the last line of copy. So, if the headline used Maxwell House's
=+10. Apply ABA format – Often used in many of the arts, this structure repeats the headline's main idea in the closing line of the copy. The first
=+9. Consider parallel construction – This is a specific kind of phrasing or wording that you've heard or read many times: “To be or not to be.”“It's not just coffee. It's Starbucks.” “No salt. No sugar. No calories.”“Get it? Got it. Good.” It could just be the same word or part
=+8. Weave – Use the main idea throughout the copy. So if your headline talks about “Creating Buzz,” you would weave “buzz” in interesting ways in the copy.
=+So, you'd say, “That guy SNAPPED a photo,” not “The photo WAS SNAPPED by that guy.”
=+7. Choose active, not passive voice – Keep the action alive by using straightforward writing, such as the active subject-followed-by-the-verb sentence construction.
=+6. Use punctuation to guide the reader's pace and focus – Stop and start the reader with short sentences and periods. Like this. See?
=+5. Read your copy out loud – After you've written it. Read it again out loud. Are you stumbling anywhere? Does it sound stiff or awkward or unnatural? If so, restate it and rewrite it the way you said it.
=+ How would they dress? How would you talk to them? Then, just say what you want to say aloud. That's how you'll hear your own voice and natural delivery. Use it. But, this time write it.
=+4. Write in a conversational style – Actually picture your consumers.What do they look like?
=+you're at a café, in the park, at a train station, listen. Pay attention to how people often don't even finish their thoughts or use one-word sentences. Get it? Great.
=+3. Write in phrases, not lengthy sentences – Shorter is usually better.See how easy it is? Just keep it short. The way you speak. Next time
=+2. Choose simple, easy-to-grasp language – Whatever you write, use simple, easy-to-grasp language. Avoid complex words, insiders' jargon, and “techie” terminology. Unless you're writing to a specific market that naturally uses those types or terms, leave them out. Don't you hate reading
=+vernacular or regional expressions, are crucial in establishing a credible link with your consumer.
=+enhance the message and target a specific audience? Ultimately, the tone of voice you choose and the delivery mechanism, such as
=+like “ma'am,” “ya'll,” or “fuggetaboutit” from Texas, the deep South, or New York
=+When it's appropriate. That casual tone of voice works perfectly for its audience of young, carefree college-aged guys, as depicted in Budweiser's “Whassup?” campaign or its “Beer House”2010 Super Bowl spot. Remember there are degrees of casual. You would have to decide whether to use
=+1. Use vernacular when it fits – So when do you use vernacular, or everyday, informal speech?
=+10. Double check that your campaign is on strategy based on your Creative Strategy Statement (#1) from your brief.
=+9. Think about a campaign direction.
=+8. Be sure you considered consumer benefits.
=+7. Decide how that strategy could become a campaign that would spin out to different touchpoints (media).
=+6. Select the one that would work best for this “client.”
=+5. Review the six categories of 50 strategies.
=+4. Consider competitors' campaigns. How could yours stand out?
=+3. List the touchpoints where you'd reach your audience.
=+2. Using the same product (client), expand the brief into a longer one.Remember to describe your audience using the appropriate VALS, such as Belongers, Emulators, Achievers, and so on. (See chapter 1.)
=+transit (buses, subways, taxis, etc.), new media, direct mail, or other vehicles?
=+interactive online components, out-of-home messages, print ads,
=+What kind of tactics (specific ad/promotional techniques) do you want to use? For example, do you want to use viral marketing,
=+What is the big message you want them to know?
=+Why should they buy this product/service?
=+What do you want them to think?
=+What do they (audience members) currently think?

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The Copywriter S Toolkit The Complete Guide To Strategic Advertising Copy 1st Edition Margo Berman - Solutions

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