My alt. title was What is Sexy?, but I thought that was incredibly
cheesy and readers of The Promo Code deserve much more. Either way,
it's all about the same thing:
When should you use a question in your copy?
Or, You should never use a question in your copy.
Or, To question or not to question, that is the... Let's move on,shall
we?
The usage of a question in copy is, IMHO, a missed opportunity. Too
often, it's of the yes/no variety. You ask the question. The viewer
answers yes or no. The viewer moves on.
Let's see this in action:
V/O: Did you know there's something in your kitchen that could kill
you?
VIEWER: Sure.
Viewer changes channel.
The problem is obvious. The viewer has been given the chance to answer
and nothing else. Yes, they know something is deadly in there. What
else do you want from me? Unfortunately, nothing else.
Now, sans interrogative:
V/O: There's something in your kitchen that could be killing you.
VIEWER: What could that be? I'll stick around for five more seconds.
As you can see, we're getting there.
Now, for the pies de resistence:
V/O: Something in your kitchen could be kllling your quintuplets.
VIEWER: Aiiiieeee!!!
By adding a little emotion to the statement, we've upped the ante. Our
gentle viewer wouldn't dare changing the channel now. For Pete's sake,
think of the quints!
The key here is that by making statements, you dictate the viewer's
emotional reaction. Tell them how to feel and don't be ashamed. This
is promo, dammit!
Questions are for... questioners. And Nuremberg lawyers.
Which open appeals to you more?
a) Looking to go someplace romantic this weekend? OR
b) This weekend, you can re-discover romance.
a) Do you have unsightly bunions? OR
b) Now you can remove unsightly bunions.
a) When news really matters, who do you turn to? OR
b) When news really matters, Chicago turns to us.
(The correct answer to all examples is b)
Like all guidelines, this is not an absolute. The biggest exception is when
you answer the question, so that the viewer doesn't have to. Also, be
sure it is an open-ended query, one that demands involvement.
In the seemingly-random reference to What is Sexy? at the top, the
question can be effective if followed by things that are, in the brand's
opinion, sexy. Obviously, the more of a twist, the more interesting
and memorable the spot. If "What is Sexy?" is followed by half-naked
people, then glamour shots of razor blades in a spot for Gillette,
you've taken the viewer down your intended emotional path.
What's more, you didn't leave it up to them how to feel about your shaving devices. Or at the very least, you loaded the deck.
So, the next time you're tempted to start a spot with a question (or blog
entry, for that matter), ask yourself, "Aren't I better than this?" I
mean, "I'm so much better than this. My high school English teacher had
no idea what she was talking about!"
But I digress. Once again.
-Ed "Not Big Daddy" Roth
Wednesday, January 30, 2013
Monday, January 28, 2013
Chapter 7: Get Inspired. Make History.
A long time ago, at a station far, far away (in New Orleans,
actually), I ran a two-person department. We had four staff announcers,
but it was just me and my assistant, Diane when it came to promoting
the television station. She did the logs and tag & bag and I did
the rest. It was a great gig, but with lots of hours put in to keep
lipstick on the pig.
I had the late and infamous Ron Hunter as an anchor/news director at WVUE for a few years. He was originally from the area, and was returning to the Crescent City after flaming out in a few larger markets (Chicago and Philly, most famously). Maybe it was because he wore makeup out in public that I began to think this guy like himself a lot! Also, maybe it was because he counted the frames in promos to make sure he had more than anyone else.
Either way, we were a distant second to WWL and I had to find a way to create something ultra-creative to polish this turd, all the time hoping no one would notice that we had none of the talent people wanted to see, and a news presentation that was not on the top of anyone's minds. I was starting to get wound up and went to see our production photographer (remember when we had those?). I was out of ideas and felt that it was my job to come up with great ideas. My friend, Tony, said "you're so busy trying to be creative that you're not being creative." What?
I know this is not a phrase that necessarily resonates as prophetic, but I've quoted this line dozens of times to dozens of people working for me. When the deck is stacked against you, time to step back, take a deep breath and go for a walk...or some other way to get some inspiration.
This lack of inspiration has hit me hundreds of times over the years, and I still do the same thing to get back on track:
* Take a walk. Clear your head.
* Go to a new website, unrelated to what you're writing about. I love movie trailers, so I recommend:
http://trailers.apple.com/
* Listen to some new music. I tend toward classic rock, but I often peruse new releases on amazon:
http://www.amazon.com/music-rock-classical-pop-jazz/b?ie=UTF8&node=5174
I like looking at cover art and titles of songs.
* Talk to someone you haven't talked to in a while. Always good for a new perspective.
* Talk to another writer in another city. Sometimes that gets the juices flowing.
* Call your mom. Ask her what she likes about her local newscast. She'll give you perspective.
Friends, we simply can't keep drawing on the same crappy catch phrases and titles we've done for years. We keep stealing from each other and it's got to stop somewhere. Time to dip into the pool of reality for a little dose of what people REALLY feel is important.
"Live. Local. Late-Breaking." Seriously? Aren't these things we expect from our newscast? ANY newscast? What does this phrase mean?
A few years ago, I wanted to inspire people to vote and then tune into KGW for the latest information. This is what all four news stations wanted to do, but we felt that the voter registration angle gave us the added boost of encouraging action, in a city that prides itself on activism.
"Register. Vote. Make History" was our empowering tag line, which we used all through the primaries and general election. Surprise! Number One in every newscast. It didn't hurt that I had a killer news department which delivered on every promise. But, but we went out of our comfort zone to call attention to ourselves when everyone else was saying the same thing.
Empower your audience. Inspire your audience. You will be the big winner in the end.
The next big idea is at the end of a long walk or a trip through an antique shop or just a trailer before the next big movie.
Now, live the Promo Code. Go make history.
--RB
I had the late and infamous Ron Hunter as an anchor/news director at WVUE for a few years. He was originally from the area, and was returning to the Crescent City after flaming out in a few larger markets (Chicago and Philly, most famously). Maybe it was because he wore makeup out in public that I began to think this guy like himself a lot! Also, maybe it was because he counted the frames in promos to make sure he had more than anyone else.
Either way, we were a distant second to WWL and I had to find a way to create something ultra-creative to polish this turd, all the time hoping no one would notice that we had none of the talent people wanted to see, and a news presentation that was not on the top of anyone's minds. I was starting to get wound up and went to see our production photographer (remember when we had those?). I was out of ideas and felt that it was my job to come up with great ideas. My friend, Tony, said "you're so busy trying to be creative that you're not being creative." What?
I know this is not a phrase that necessarily resonates as prophetic, but I've quoted this line dozens of times to dozens of people working for me. When the deck is stacked against you, time to step back, take a deep breath and go for a walk...or some other way to get some inspiration.
This lack of inspiration has hit me hundreds of times over the years, and I still do the same thing to get back on track:
* Take a walk. Clear your head.
* Go to a new website, unrelated to what you're writing about. I love movie trailers, so I recommend:
http://trailers.apple.com/
* Listen to some new music. I tend toward classic rock, but I often peruse new releases on amazon:
http://www.amazon.com/music-rock-classical-pop-jazz/b?ie=UTF8&node=5174
I like looking at cover art and titles of songs.
* Talk to someone you haven't talked to in a while. Always good for a new perspective.
* Talk to another writer in another city. Sometimes that gets the juices flowing.
* Call your mom. Ask her what she likes about her local newscast. She'll give you perspective.
Friends, we simply can't keep drawing on the same crappy catch phrases and titles we've done for years. We keep stealing from each other and it's got to stop somewhere. Time to dip into the pool of reality for a little dose of what people REALLY feel is important.
"Live. Local. Late-Breaking." Seriously? Aren't these things we expect from our newscast? ANY newscast? What does this phrase mean?
A few years ago, I wanted to inspire people to vote and then tune into KGW for the latest information. This is what all four news stations wanted to do, but we felt that the voter registration angle gave us the added boost of encouraging action, in a city that prides itself on activism.
"Register. Vote. Make History" was our empowering tag line, which we used all through the primaries and general election. Surprise! Number One in every newscast. It didn't hurt that I had a killer news department which delivered on every promise. But, but we went out of our comfort zone to call attention to ourselves when everyone else was saying the same thing.
Empower your audience. Inspire your audience. You will be the big winner in the end.
The next big idea is at the end of a long walk or a trip through an antique shop or just a trailer before the next big movie.
Now, live the Promo Code. Go make history.
--RB
Wednesday, January 23, 2013
How to Write Like a Writer
You're a good writer. A damn fine writer, in fact. Just look at all those awards, they don't lie, do they? But deep down, you know that your copy should be more, well, varied. Sometimes (ok, often) you look at your scripts and know you've written some version of it about a million times. Same structure. Same turn. Same sell. Not that there's anything wrong with that.
But the truth is, you've got more to give. The key is your ability to access your inner writer... by listening to the voices in your head.
Here's how that goes down...
Step 1. Write the first script as you normally would. Make sure you have all the required information - message, branding, names, titles, tune-in, etc. You'll end up with a spot that's likely adequate, perhaps even good. Now put this aside.
Step 2. Stop thinking of yourself as a drama writer, or a comedy writer, or even John Doe the writer (not a real name). Labeling prohibits creativity, even if your personal brand is Mr./Ms. Creative (whatever that means). So go ahead and clear your head. This will prevent you from falling into typical patterns, most of which produce typical copy runs.
Step 3. Imagine you are a famous writer. Doesn't matter who - Steinbeck, Hemingway, Steig Larsson, Dan Brown, JK Rowling, Mickey Spillane, Rachel Maddow. Choose one and get their voice in your head. Their pacing. Their outlook. Their perspective. Feel free to read a page or two from these authors to get into their head. If you can't "get" them, try someone else; maybe Dr. Seuss is your muse.
Time to write your script in that person's voice. Remember, you are not John Doe, the drama writer. You are Steinbeck and you've got a story to tell about the Doppler 7000. What angle would he take? What would intrigue him? Would he use words that hit home, perhaps a little too closely?
Now comes the fun part. Take your new script, making sure that it has all the requirements for approval, and compare it to the script you wrote in Step 1. Hard to believe, but this new, original, interesting run actually came from you!
At first, it may seem awkward (and many non-writers won't get you), but you'll find new words and phrases to convey messages that have become all too familiar. Don't be afraid, just listen to your inner voices. Eventually, you'll have such a diverse arsenal of approaches that your scripts won't look they were written by the same person.
And that's how you write like a writer.
-Ed "Not Big Daddy" Roth
But the truth is, you've got more to give. The key is your ability to access your inner writer... by listening to the voices in your head.
Here's how that goes down...
Step 1. Write the first script as you normally would. Make sure you have all the required information - message, branding, names, titles, tune-in, etc. You'll end up with a spot that's likely adequate, perhaps even good. Now put this aside.
Step 2. Stop thinking of yourself as a drama writer, or a comedy writer, or even John Doe the writer (not a real name). Labeling prohibits creativity, even if your personal brand is Mr./Ms. Creative (whatever that means). So go ahead and clear your head. This will prevent you from falling into typical patterns, most of which produce typical copy runs.
Step 3. Imagine you are a famous writer. Doesn't matter who - Steinbeck, Hemingway, Steig Larsson, Dan Brown, JK Rowling, Mickey Spillane, Rachel Maddow. Choose one and get their voice in your head. Their pacing. Their outlook. Their perspective. Feel free to read a page or two from these authors to get into their head. If you can't "get" them, try someone else; maybe Dr. Seuss is your muse.
Time to write your script in that person's voice. Remember, you are not John Doe, the drama writer. You are Steinbeck and you've got a story to tell about the Doppler 7000. What angle would he take? What would intrigue him? Would he use words that hit home, perhaps a little too closely?
Now comes the fun part. Take your new script, making sure that it has all the requirements for approval, and compare it to the script you wrote in Step 1. Hard to believe, but this new, original, interesting run actually came from you!
At first, it may seem awkward (and many non-writers won't get you), but you'll find new words and phrases to convey messages that have become all too familiar. Don't be afraid, just listen to your inner voices. Eventually, you'll have such a diverse arsenal of approaches that your scripts won't look they were written by the same person.
And that's how you write like a writer.
-Ed "Not Big Daddy" Roth
Saturday, January 19, 2013
Chapter 6: How to Talk to an Art Director
Rich:
Today, we want to talk about Art Directors, probably the most maligned and misunderstood folks in any station.
Ed:
Well, misunderstood by many writers, copywriters and managers, that's for sure. And yes, I'll admit it: I don't understand Art Directors. More specifically, how their brains work.
Rich:
I've managed enough designers over the years that I should, but I can always do better.
Ed:
As writers, you and I know how to structure scripts, look for angles, find nice word plays and don't
get me started on double entendres! (h/t to Mr. Buddy Young) But I'm in total awe of Art
Directors who obviously see the world different than I. They can take "I'd like a retro look that
doesn't say old, with a green feel" and turn it into something that looks, like, well, retro green, but in a way that I could never visualize.
Rich:
The way I can put it is that my worst designer is a better designer than my best producer.
The best producer/director I've ever worked with was used to working quickly and having to design
his own graphics when he came to KGW. But, I had Jeff Patterson, the best design director a
manager could ask for (and who is still doing incredible work at the station), and a great team of
designers, who each had unique talents in different areas. For the first few months working together here in Portland, I sometimes got a visit by Jeff, who gently said "he's designing again." When you've got Babe Ruth in your lineup, let him hit...a lot. Let the designers design. It's always a concern, though, when a writer starts working on a project.
Ed:
But that doesn't mean that every concept should be driven by graphics, right?
Rich:
No, but often, it can. It all comes down to communication.
Ed:
Yep. And, just by coincidence, I have several ideas on how a writer or creative director
can communicate a concept, or better yet, collaborate with an AD.
Rich:
I'm all ears.
Ed:
First, don't be afraid to offer a starting point. I like motionographer.com for inspiration. Luis
Martinez, an amazing AD, turned me on to this incredible site; I assume all designers are familiar with
it and that it's kinda like Fight Club. You know how you're not supposed to talk about it...
Going to a site like this, or vimeo.com (of course) is a must for being aware of styles and trends.
More importantly, though, it gives you, the writer, an insight into how these people view the world and gets you off the copy-only solution.
Rich:
Too much copy makes for a dull spot.
Ed:
That's kind of your mantra, Rich. Which leads me to this unoriginal, but valid point: Each spot should be envisioned as a print ad.
Rich:
You're losing me.
Ed:
This forces you to hone your message by combining compelling copy and visual. It also fosters
collaboration before the concept is hatched, instead of adding graphics (or copy, for that matter) as
an afterthought. In fact, you can always tell when an ad or spot is the brainchild of a writer/artist
union: The spot is better than the sum of its parts.
Rich:
I would say that the most important thing to do is bring your designer (or AD) into the process from
the very start. They will always bring fresh ideas to the table, and often keep you or your producer
from doing "the same old thing." I think that too many creative directors just ask their designers for a tag or lower-third.
Ed:
Agreed. Art Directors thinks differently than writers/producers ever can. Go to graphic designers'
sites for inspiration. Conceive the spot as a collaboration.
Rich: Yeah, man. Designers rock. When I was working at Fisher Communications, I told one of the
corporate VP's that you could always tell a dominant station in the market by their "look" and art direction. I meant it. A great design director helps create more than your look. They create your brand and help make your spots pop. Release the hounds!
Ed:
Now, if only we could get an Art Director to fix The Promo Code's website.
Today, we want to talk about Art Directors, probably the most maligned and misunderstood folks in any station.
Ed:
Well, misunderstood by many writers, copywriters and managers, that's for sure. And yes, I'll admit it: I don't understand Art Directors. More specifically, how their brains work.
Rich:
I've managed enough designers over the years that I should, but I can always do better.
Ed:
As writers, you and I know how to structure scripts, look for angles, find nice word plays and don't
get me started on double entendres! (h/t to Mr. Buddy Young) But I'm in total awe of Art
Directors who obviously see the world different than I. They can take "I'd like a retro look that
doesn't say old, with a green feel" and turn it into something that looks, like, well, retro green, but in a way that I could never visualize.
Rich:
The way I can put it is that my worst designer is a better designer than my best producer.
The best producer/director I've ever worked with was used to working quickly and having to design
his own graphics when he came to KGW. But, I had Jeff Patterson, the best design director a
manager could ask for (and who is still doing incredible work at the station), and a great team of
designers, who each had unique talents in different areas. For the first few months working together here in Portland, I sometimes got a visit by Jeff, who gently said "he's designing again." When you've got Babe Ruth in your lineup, let him hit...a lot. Let the designers design. It's always a concern, though, when a writer starts working on a project.
Ed:
But that doesn't mean that every concept should be driven by graphics, right?
Rich:
No, but often, it can. It all comes down to communication.
Ed:
Yep. And, just by coincidence, I have several ideas on how a writer or creative director
can communicate a concept, or better yet, collaborate with an AD.
Rich:
I'm all ears.
Ed:
First, don't be afraid to offer a starting point. I like motionographer.com for inspiration. Luis
Martinez, an amazing AD, turned me on to this incredible site; I assume all designers are familiar with
it and that it's kinda like Fight Club. You know how you're not supposed to talk about it...
Going to a site like this, or vimeo.com (of course) is a must for being aware of styles and trends.
More importantly, though, it gives you, the writer, an insight into how these people view the world and gets you off the copy-only solution.
Rich:
Too much copy makes for a dull spot.
Ed:
That's kind of your mantra, Rich. Which leads me to this unoriginal, but valid point: Each spot should be envisioned as a print ad.
Rich:
You're losing me.
Ed:
This forces you to hone your message by combining compelling copy and visual. It also fosters
collaboration before the concept is hatched, instead of adding graphics (or copy, for that matter) as
an afterthought. In fact, you can always tell when an ad or spot is the brainchild of a writer/artist
union: The spot is better than the sum of its parts.
Rich:
I would say that the most important thing to do is bring your designer (or AD) into the process from
the very start. They will always bring fresh ideas to the table, and often keep you or your producer
from doing "the same old thing." I think that too many creative directors just ask their designers for a tag or lower-third.
Ed:
Agreed. Art Directors thinks differently than writers/producers ever can. Go to graphic designers'
sites for inspiration. Conceive the spot as a collaboration.
Rich: Yeah, man. Designers rock. When I was working at Fisher Communications, I told one of the
corporate VP's that you could always tell a dominant station in the market by their "look" and art direction. I meant it. A great design director helps create more than your look. They create your brand and help make your spots pop. Release the hounds!
Ed:
Now, if only we could get an Art Director to fix The Promo Code's website.
Monday, January 14, 2013
Chapter 5: The Best of 2012
I've spent a lot of time watching television this year, and it's been a great year. I've seen a lot of great promos and commercials, but when I started writing this, I realized I was undertaking a job waaaay beyond one blog post. How could I possibly encapsulate an entire year into a few spots, so I'll sprinkle my favorites throughout the year and now give you a few of my favorites from the past twelve months.
First of all, I know you've seen this spot, but I drove my wife crazy by watching it every time it was on and in my DVR, if only because of the rockin' babies at the end. As the father of a beautiful daughter, who doesn't love babies who rock out? Google Chrome gets it right.
http://www.youtube.com/user/googlechrome
Secondly, one of my passions for the past seven years has been Dexter. Showtime does some consistently great work for their shows and here is a spot that demonstrates great art direction and copy that reel us right in and cause great anticipation. They could use clips from the show, but choose to go the other way. The producers never take the easy way out, but push the envelope in a bold way each time.
http://www.tvfanatic.com/videos/dexter-season-seven-promo-get-away-from-the-body/
In the case of their other hit series, The Borgias, they launched into season 2 with some killer spots using clips, great art direction and a great slogan for "The Original Crime Family." Love it.
http://www.youtube.com/watch?v=mUViMzFaMKU
We all probably wish we all could have been a promo producer at HBO at one time or another, because who wouldn't want to work with those great shows, clips and art direction? Here, they've done it again with their 2012 Spring/Summer image spot. Notice that they only use one piece of music, but manipulate it to seem like three different pieces. This is how music should be used in a spot.
http://www.youtube.com/watch?v=H-5JhjXaPns
Finally, I admit to being a sucker for those "In Memoriam" spots on every network and at the Oscars and Emmys. But those award shows are often disappointing, especially in light of the fact that they have so much great material to work with. Why? They don't get a promo producer to produce it. Every year, TCM gets it right. I saw the TCM Remembers spot for 2012 and was overwhelmed by it, but have had a devil of a time locating it. But, fear not, gentle reader. Here is the 2011 version and it is also great. Listen to the music choice and the wonderful final shot, which will stay with you. Simple, classy, beautifully produced.
http://www.youtube.com/watch?v=4H3aa0No9H0
OK, here's my real final spot. It's my new favorite for 2013. Love the copy, the concept and (as an Avalon owner) the car itself. You won't be doing art direction like this at your station, but I hope you're inspired by where it goes and how it gets there. Try to take your eyes off the car. You can't.
http://www.youtube.com/watch?v=cniIVxaJMSY
In 2013, as the spot says..."let's take every drop of courage...every ounce of inspriation...every bit of determination and go where we've never gone before."
I've never heard copy like this in a commercial before, much less a promo, so let's pledge to do it.
Let's live by The Promo Code this year.
Let's take every ounce of courage and write differently and better.
Let's take every ounce of inspiration from our art director, producers, managers and even general managers to create not only great but effective art.
Let's go where we've never gone before...
Individually and together.
Let's make this a breakthrough year with less copy and more forethought.
Of better music and art direction and less taking the easy way out.
Of kicking ass and taking names.
Let's...OK?
--Rich
First of all, I know you've seen this spot, but I drove my wife crazy by watching it every time it was on and in my DVR, if only because of the rockin' babies at the end. As the father of a beautiful daughter, who doesn't love babies who rock out? Google Chrome gets it right.
http://www.youtube.com/user/googlechrome
Secondly, one of my passions for the past seven years has been Dexter. Showtime does some consistently great work for their shows and here is a spot that demonstrates great art direction and copy that reel us right in and cause great anticipation. They could use clips from the show, but choose to go the other way. The producers never take the easy way out, but push the envelope in a bold way each time.
http://www.tvfanatic.com/videos/dexter-season-seven-promo-get-away-from-the-body/
In the case of their other hit series, The Borgias, they launched into season 2 with some killer spots using clips, great art direction and a great slogan for "The Original Crime Family." Love it.
http://www.youtube.com/watch?v=mUViMzFaMKU
We all probably wish we all could have been a promo producer at HBO at one time or another, because who wouldn't want to work with those great shows, clips and art direction? Here, they've done it again with their 2012 Spring/Summer image spot. Notice that they only use one piece of music, but manipulate it to seem like three different pieces. This is how music should be used in a spot.
http://www.youtube.com/watch?v=H-5JhjXaPns
Finally, I admit to being a sucker for those "In Memoriam" spots on every network and at the Oscars and Emmys. But those award shows are often disappointing, especially in light of the fact that they have so much great material to work with. Why? They don't get a promo producer to produce it. Every year, TCM gets it right. I saw the TCM Remembers spot for 2012 and was overwhelmed by it, but have had a devil of a time locating it. But, fear not, gentle reader. Here is the 2011 version and it is also great. Listen to the music choice and the wonderful final shot, which will stay with you. Simple, classy, beautifully produced.
http://www.youtube.com/watch?v=4H3aa0No9H0
OK, here's my real final spot. It's my new favorite for 2013. Love the copy, the concept and (as an Avalon owner) the car itself. You won't be doing art direction like this at your station, but I hope you're inspired by where it goes and how it gets there. Try to take your eyes off the car. You can't.
http://www.youtube.com/watch?v=cniIVxaJMSY
In 2013, as the spot says..."let's take every drop of courage...every ounce of inspriation...every bit of determination and go where we've never gone before."
I've never heard copy like this in a commercial before, much less a promo, so let's pledge to do it.
Let's live by The Promo Code this year.
Let's take every ounce of courage and write differently and better.
Let's take every ounce of inspiration from our art director, producers, managers and even general managers to create not only great but effective art.
Let's go where we've never gone before...
Individually and together.
Let's make this a breakthrough year with less copy and more forethought.
Of better music and art direction and less taking the easy way out.
Of kicking ass and taking names.
Let's...OK?
--Rich
Wednesday, January 9, 2013
It Can't be a Cliche - Everybody Uses It!
If it's trite, overused and predictable, you can count on hearing it in too many promos. The Promo Code says enough's enough.
Apparently, someone, somewhere, somehow has dictated that you can't use copy unless you've heard it in at least 100 other spots. The net effect, of course, is that the words wash over the viewer/listener and lose impact. (For an excellent analysis of how stations miss opportunities to use substance to reach viewers, see Rich's entry, "The Death of Promospeak.")
I'm referring to the usage of trendy expressions, predictable setups/punchlines and tired "turns" as though they're being presented for the first time. A few examples:
IT'S LIKE _______ON STEROIDS
O. M. G.
(disaffected, sarcastic) REALLY?
IT'S A STORY THAT COULDN'T BE TOLD. UNTIL NOW.
IF YOU THINK YOU KNOW _______ ,
(C'mon everybody, say it with me... ) THINK AGAIN!
Visual equivalents:
- Sally talks to Betty about Jack, and eventually realizes that Jack is right behind her.
"Jack's behind me, right?" Betty nods.
- Sally talks to Betty about Jack. Turns out Jack is right next to them and says, "I'm right here, you know."
- Sally talks to Betty about Jack. Cut to CU of Betty rolling her eyes.
As a professional writer (and often as a viewer), you see these coming a mile away. How many times have you been watching a promo for the first time, then correctly predicted what's coming next? Too many, I'll bet. ("EVERY ONCE IN GREAT WHILE AN IMPORTANT MOVIE COMES ALONG... THIS ISN'T ONE OF THEM.")
These cliches should be tossed on the slagheap of yesterday's scripts. Wrapping fish and lining birdcages is too good for them. I know, because I've been guilty of falling back on these and without exception, have felt like crap the morning after.
One Man's Solution
To combat this natural instinct, here's a simple trick that forces exploration of different copy avenues. After settling on a script that you think is pretty good, use the last line (before tune-in, tag, etc.) and begin the next version with that as the lead.
This bears repeating. Use the last line of Script #1 as your first line of Script #2.
This exercise is good at clearing out cobwebs and forces you to challenge yourself. Eventually, "pretty good" becomes "a pretty good start." After doing this for a while, you'll be surprised how much more interesting your spots become. Cliches fall by the wayside. The sun shines a little brighter. People are a little nicer. Food tastes a little better. But I digress...
Then, with new script in hand, ask yourself one hard question:
Can I easily ID this spot with another show/station/network?
If so, you're probably using cliches. But don't worry, everybody's doing it.
-Ed "Not Big Daddy" Roth
Apparently, someone, somewhere, somehow has dictated that you can't use copy unless you've heard it in at least 100 other spots. The net effect, of course, is that the words wash over the viewer/listener and lose impact. (For an excellent analysis of how stations miss opportunities to use substance to reach viewers, see Rich's entry, "The Death of Promospeak.")
I'm referring to the usage of trendy expressions, predictable setups/punchlines and tired "turns" as though they're being presented for the first time. A few examples:
IT'S LIKE _______ON STEROIDS
O. M. G.
(disaffected, sarcastic) REALLY?
IT'S A STORY THAT COULDN'T BE TOLD. UNTIL NOW.
IF YOU THINK YOU KNOW _______ ,
(C'mon everybody, say it with me... ) THINK AGAIN!
Visual equivalents:
- Sally talks to Betty about Jack, and eventually realizes that Jack is right behind her.
"Jack's behind me, right?" Betty nods.
- Sally talks to Betty about Jack. Turns out Jack is right next to them and says, "I'm right here, you know."
- Sally talks to Betty about Jack. Cut to CU of Betty rolling her eyes.
As a professional writer (and often as a viewer), you see these coming a mile away. How many times have you been watching a promo for the first time, then correctly predicted what's coming next? Too many, I'll bet. ("EVERY ONCE IN GREAT WHILE AN IMPORTANT MOVIE COMES ALONG... THIS ISN'T ONE OF THEM.")
These cliches should be tossed on the slagheap of yesterday's scripts. Wrapping fish and lining birdcages is too good for them. I know, because I've been guilty of falling back on these and without exception, have felt like crap the morning after.
One Man's Solution
To combat this natural instinct, here's a simple trick that forces exploration of different copy avenues. After settling on a script that you think is pretty good, use the last line (before tune-in, tag, etc.) and begin the next version with that as the lead.
This bears repeating. Use the last line of Script #1 as your first line of Script #2.
This exercise is good at clearing out cobwebs and forces you to challenge yourself. Eventually, "pretty good" becomes "a pretty good start." After doing this for a while, you'll be surprised how much more interesting your spots become. Cliches fall by the wayside. The sun shines a little brighter. People are a little nicer. Food tastes a little better. But I digress...
Then, with new script in hand, ask yourself one hard question:
Can I easily ID this spot with another show/station/network?
If so, you're probably using cliches. But don't worry, everybody's doing it.
-Ed "Not Big Daddy" Roth
Such a great article, I just had to repost.
http://99u.com/tips/7261/The-Bias-Against-Creatives-as-Leaders
http://99u.com/tips/7261/The-Bias-Against-Creatives-as-Leaders
Sunday, January 6, 2013
Episode 4: The Death of Promospeak
I've been accused of being a good copywriter (thanks, Al). You couldn't say anything to me that would make me feel any better. The fact is that not only to do I consider it the basis of all great marketing, but I'm proud to have walked in the shoes of those I've emulated--the great Paul Fey and Walt Jaschek of World Wide Wadio, John Miller's geniuses during NBC's heyday and the legendary Chuck Blore, who has mentored me for 25 years and frequently said of my copy "This is crap. You're better than this" when I started using Promospeak.
We all know what Promospeak is:
"The most experienced journalists."
"We've got _____ covered."
"On the air or on the go."
"Weather where you live."
Oh, I could go on all day. I've even written some of this crap...years ago...before someone much better told me it was crap. The fact is that cliches in promo copy, especially news copy, are cliches because a lot of us already wrote it years ago, and it may or may not be valid at your station. It's just common practice to steal a word here and a word here.
Here in Portland, a creative director actually had the stones to write: "Give us 60 minutes and we'll connect you to the world." Seriously? This was used by the CBS-owned radio stations back in 1960.
I used to work with an announcer back in New Orleans (when the station had four staff announcers) who used to advise me that "when you don't know what to do, look at the network and copy that." That was good advice then, when I seemed to be flopping and floudering for any great ideas I could find.
So, rather than beat your head against the wall to come up with a new phrase that sells the benefits of your newsteam doppler radar or investigative team, look for a good word or phrase on one of a number of great phrases from a spot. This is what your news director wants. He/she wants your spots to look like those on your consultants reel. As a matter of fact, so does your consultant.
When I was at KGW, we knew our Olympic numbers would be massive every two years, so we really geared up with a 4-6 spot campaign of completely new spots, all very high concept. Back in 2004, I was six or seven weeks away from the Games, but working on some really great stuff. My producers and designers were really creatively firing on all cylinders. I was in a meeting with News Director Rod Gramer, whom I had great respect for (as a journalist). He asked "how is the campaign coming?" I told him "Great. We have some things that are really new and different." Without blinking (and with no sense of irony), he said "I hate new and different."
I'll bet your news director has said (or thought this) at some time or other. I'll bet your natural
inclination is to be as creative as you can. You want to inspire and connect with your audience, while telling your audience about the power of your doppler, the reliability of your chief meteorologist or how your second and third screen connection is better than the rest.
But are you being held back by a GM, ND or consultant who wants just behind the scenes or file video cut to the same old copy? It's a big club. Glad I don't belong to it anymore. But how do you fight back?
What they want: More of the same. File footage with wall-to-wall copy. Killer footage of exclusive stories you broke six months or a year ago.
What you need to give them: If you must use news footage, really team up with your art director to make the footage look different. Even if he/she simply treats it, make sure you mix things up by including interesting SOT, sound effects, even some talent interviews. Keep the copy short.
What they want: Your talent on camera in each promo.
What you need to give them: Talent shots and sound from them no longer than 3-4 seconds that you write. Keep things moving, but not too fast that you irritate your audience. Keep it interesting. Wall to wall copy is the opposite of interesting.
What they want: Copy pulled directly from the research: "most honored," "most experienced""most dependable." BLAH, BLAH, BLAH!
What you need to give them: Words that reinforce what makes your viewers smarter, more assured, feel safer and part of something greater. You know...how top notch marketers like Mercedes, Budweiser or even McDonald's do it. Think a newscast has nothing to do with these three giants? Think again. No matter what you do, the most important thing is how your spot makes your viewer FEEL about your spot, not how much power your doppler has.
One final thing--make sure your video off the top is the best you can find. Forget news directors who say "I don't want to give away our best video." Nonsense. No matter how much great video you give them, they think there's more, and will watch great video over and over. Use you best stuff in your promo.
Remember, if you don't use it in the first three seconds, you'll be skipped in my DVR. You have two seconds to wow me, then, you're gone. Sorry, chump.
So, remember to take that old, tired copy and twist it to make it different. Used to writing "experienced" about that tired, old newsteam who have no chemistry at all? Instead, call them expert, seasoned, skilled and worldly and tell them how how they benefit from this skill. Remember that your news audience is older and values people who are battle-tested, experienced and familiar.
In 1983, I was handed an ex-ABC field reporter as my next main anchor at WVUE-TV. I came up with "A World of Experience" as a new campaign and feel that we really hit it out of the park. All the spots included all the places he covered and how this benefited our audience.
Of course, with WWL having a 50+ share, I still got killed...but I was happy to be in second place with some creative that I still love and know cut through the clutter.
So, go forth and write something truly different today. Be prepared to get pushback from people who will never understand marketing the way you do, but if you position it well and write some killer copy, this is a battle you can win, and must. You think Target, Budweiser, BMW and Nike is doing the same this year as last? Why are you?
Promospeak must die. It's up to you to help kill it!
NEXT:
EPISODE 5: The Best Creative of 2012
Friday, January 4, 2013
9 Words a Creative Director Should Never Say
As a Creative Director, I have tons of respect for my brethren and sistren. Leading the way for a new project is often a delicate balancing act - reinforce branding, look for new angles, explore new ways of telling stories, ensure continuity, anticipate production issues, and bring emotion to the concept - all while inspiring your staff.
There are many ways to be successful at this. However, there is one sure-fire way to virtually guarantee frustration and despair. Simply utter these nine little words:
"I'LL KNOW WHAT I WANT WHEN I SEE IT."
Nothing brings about the glaze in the eyes and deep sigh more than this stab at creative direction. Aside from the refusal to lead, it tells creatives that either...
a) this project isn't important enough to sit down and really think about it,
b) I haven't sat down and really thought about it, or
c) I'm going to play mix-and-match with submitted concepts and "fix the unsolvable problem" myself.
Too often, the answer is (c), and it's particularly brutal. Many superfluous rounds will ensue until you finally issue your Solomon-like edict. It's even worse when the completed project is accompanied by "See? This is what I was looking for."
As Creative Director, you're not supposed to have all the answers. But you do have to provide a roadmap, even if gets tossed halfway down the road.
Which reminds me of a related story (h/t to Mike Matousek, perhaps the best designer in the biz)...
I was helping launch a professional women's soccer team. Their head of marketing was a pleasant enough woman who wasn't particularly adept at providing clear direction. We ended up going down many roads; after each attempt, I began to question my sanity. Despite all my active listening, we still had "miscommunication."
Eventually, we progressed to the point of no return - original music. With music-man Dave Cebert standing by, I asked her for direction.
"I 'LL KNOW WHAT I WANT WHEN I SEE IT" was about to be joined by its evil twin,
"I'LL KNOW WHAT I WANT WHEN I HEAR IT."
Me: "Which song would you like to use as our starting point?"
She: "You know... that song they always play at the stadiums..."
Me: "Uhh... Rock and Roll Part 2?"
She: "No, not that."
Me: "We Will Rock You?"
She: "No, you know, it's the song they always play..."
Me: "Na Na Na Na, Na Na Na Na, Hey Hey, Goodbye?"
Me: "We Are The Champions?"
Me: "Day-O?"
Me: "Pump up the Jam?"
Me: "I Like to Move It?"
Me: "Welcome to The Jungle?"
Me: "Blitzkrieg Bop?"
Me: "Mony Mony?"
She: "Yeah, that's it."
Ed: "Great. So we'll create something like Mony Mony."
She: "Um... OK... Let's see how it goes."
George Carlin once gave us seven words you can't say on television.
These nine words should never be used by Creative Directors in television.
-Ed "Tuned In" Roth
There are many ways to be successful at this. However, there is one sure-fire way to virtually guarantee frustration and despair. Simply utter these nine little words:
"I'LL KNOW WHAT I WANT WHEN I SEE IT."
Nothing brings about the glaze in the eyes and deep sigh more than this stab at creative direction. Aside from the refusal to lead, it tells creatives that either...
a) this project isn't important enough to sit down and really think about it,
b) I haven't sat down and really thought about it, or
c) I'm going to play mix-and-match with submitted concepts and "fix the unsolvable problem" myself.
Too often, the answer is (c), and it's particularly brutal. Many superfluous rounds will ensue until you finally issue your Solomon-like edict. It's even worse when the completed project is accompanied by "See? This is what I was looking for."
As Creative Director, you're not supposed to have all the answers. But you do have to provide a roadmap, even if gets tossed halfway down the road.
Which reminds me of a related story (h/t to Mike Matousek, perhaps the best designer in the biz)...
I was helping launch a professional women's soccer team. Their head of marketing was a pleasant enough woman who wasn't particularly adept at providing clear direction. We ended up going down many roads; after each attempt, I began to question my sanity. Despite all my active listening, we still had "miscommunication."
Eventually, we progressed to the point of no return - original music. With music-man Dave Cebert standing by, I asked her for direction.
"I 'LL KNOW WHAT I WANT WHEN I SEE IT" was about to be joined by its evil twin,
"I'LL KNOW WHAT I WANT WHEN I HEAR IT."
Me: "Which song would you like to use as our starting point?"
She: "You know... that song they always play at the stadiums..."
Me: "Uhh... Rock and Roll Part 2?"
She: "No, not that."
Me: "We Will Rock You?"
She: "No, you know, it's the song they always play..."
Me: "Na Na Na Na, Na Na Na Na, Hey Hey, Goodbye?"
Me: "We Are The Champions?"
Me: "Day-O?"
Me: "Pump up the Jam?"
Me: "I Like to Move It?"
Me: "Welcome to The Jungle?"
Me: "Blitzkrieg Bop?"
Me: "Mony Mony?"
She: "Yeah, that's it."
Ed: "Great. So we'll create something like Mony Mony."
She: "Um... OK... Let's see how it goes."
George Carlin once gave us seven words you can't say on television.
These nine words should never be used by Creative Directors in television.
-Ed "Tuned In" Roth
Wednesday, January 2, 2013
A Funny Story That's Probably True
I heard this one from someone who was there and have no reason to doubt her. I choose to believe this really happened.
The agency I was with had a very big account - rhymes with Baramount. It was a very good marriage. We were known for high-concept image campaigns (bordering on the esoteric); the syndication arm of the studio was the industry leader and was always looking for new ways to reinforce the brand.
This was accomplished in all aspects of their trade and consumer promotion - from Holiday Party invitations to sizzle reels and on-air launches. Big ideas were welcome, even though we almost always ended up with a concept that was about a step or two away from the home run. But it was a true partnership, with plenty of exploration and money for execution.
Anyway... we're launching a spin-off of a very popular series that took place in space. In fact, this one also takes place in space, and it's not The First Generation. More like The Next One. After dozens of submitted campaigns, the client and show finally sign off on a campaign (that was probably considered on Day One).
Now the good part:
It's Shoot Day. There are reps from the agency, the show, the studio, the syndication team, the production people, and oh yes, the cast. It's taken months to get here, but everything has finally come together. It's Go Time.
The first shot features the cast in a group. They must stand still as a legendary special effect will be added. All is well until the star of the show, the Captain, if you will, suddenly has a question: "What is my motivation?"
The director shows him the storyboard (apparently for the first time) and says, "You are being beamed out." The star listens and incredulously asks the director to repeat himself. "You are being beamed out," he says, innocently and accurately enough.
Immediately, the Captain goes ballistic and announces Shakespearean-like, "I do not get beamed out. I get beamed in!" He then steps off set and hails our client. He is obviously irate and in dire need of soothing. More importantly, the shoot is at risk unless a solution is forthcoming. All that time. All that crafting. All that money!
After several rounds of discussion, it is agreed: The Captain will be beamed in, regardless of the script, logic, or related issues. (Keep in mind: The set-up is exactly the same.) He returns, everybody pretends that this is normal behavior, we get the shot and a great story.
And yes, there is a postscript. The first cut is delivered, with the beaming in and all, and the client has one suggestion: It would probably be better if he was beamed out.
- Ed "Gotta Love It" Roth
The agency I was with had a very big account - rhymes with Baramount. It was a very good marriage. We were known for high-concept image campaigns (bordering on the esoteric); the syndication arm of the studio was the industry leader and was always looking for new ways to reinforce the brand.
This was accomplished in all aspects of their trade and consumer promotion - from Holiday Party invitations to sizzle reels and on-air launches. Big ideas were welcome, even though we almost always ended up with a concept that was about a step or two away from the home run. But it was a true partnership, with plenty of exploration and money for execution.
Anyway... we're launching a spin-off of a very popular series that took place in space. In fact, this one also takes place in space, and it's not The First Generation. More like The Next One. After dozens of submitted campaigns, the client and show finally sign off on a campaign (that was probably considered on Day One).
Now the good part:
It's Shoot Day. There are reps from the agency, the show, the studio, the syndication team, the production people, and oh yes, the cast. It's taken months to get here, but everything has finally come together. It's Go Time.
The first shot features the cast in a group. They must stand still as a legendary special effect will be added. All is well until the star of the show, the Captain, if you will, suddenly has a question: "What is my motivation?"
The director shows him the storyboard (apparently for the first time) and says, "You are being beamed out." The star listens and incredulously asks the director to repeat himself. "You are being beamed out," he says, innocently and accurately enough.
Immediately, the Captain goes ballistic and announces Shakespearean-like, "I do not get beamed out. I get beamed in!" He then steps off set and hails our client. He is obviously irate and in dire need of soothing. More importantly, the shoot is at risk unless a solution is forthcoming. All that time. All that crafting. All that money!
After several rounds of discussion, it is agreed: The Captain will be beamed in, regardless of the script, logic, or related issues. (Keep in mind: The set-up is exactly the same.) He returns, everybody pretends that this is normal behavior, we get the shot and a great story.
And yes, there is a postscript. The first cut is delivered, with the beaming in and all, and the client has one suggestion: It would probably be better if he was beamed out.
- Ed "Gotta Love It" Roth
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