Thursday, 20 July 2017

Why I would rather be on Instagram right now

Discover the ins and outs of the ever-expanding kingdom of social media through the eyes of someone in the middle of the rush - a teenager


“We don’t have a choice whether we do social media, the question is how well we do it.” – Erik Qualman, author of Socialnomics

Teenagers are superior creatures when it comes to social media, so don’t feel embarrassed if you feel a little frazzled. This guide introduces you to the major social media platforms millennials love, and why. At the bottom, there’s a glossary of the most important vocabulary you’ll need to stay afloat when the topic comes up in conversation. Let’s dive in.

1. Instagram (in-stuh-gram)

Now one of the current social media giants, Instagram has rightfully earned its place on our phone screens. With over 500 million active monthly users, including 28% of adult internet users, the image sharing platform has monumental reach. So, what’s the big deal? Instagram is all about popularity: how many followers[i] you have and how many likes[ii] you can get. If you haven’t already guessed, we’re obsessed with being the best. More dedication and effort is put into one post than a whole night’s worth of homework, as each upload must maintain your personal image and validate how perfect your life is.


One wrong move and...


The ultimate aim of Instagram is personal branding – whether you are popular, a party-hard, a hippy, or an edgy outcast, your Instagram profile[iii] is your proof. There are a variety of profiles dedicated to hobbies such as travel, food, art, as well as celebrities and famous brands, which are useful ways to survive maths class on Monday morning.


Thursday, 13 July 2017

When to start (word)playing around

Copywriters can't resist playing around with words. But when is wordplay right for a brand? Here's what works - and what doesn't.


O what a punderful world

Us copywriters are paid to be smart with language. It's our job to manipulate words, fusing, refining and cross-fertilising meaning to compel, provoke and persuade. Wordplay might (okay, definitely will) elicit groans at the dinner table, but some of the finest writers in the English language have leaned heavily on the humble pun: Shakespeare, Pope and Joyce to name three of the best. Even Alfred Hitchcock reckoned that the pun was the 'highest form of literature'.

It's not a bad marketing tactic either - if you tread carefully.

Making people smile

A good play on words communicates two pieces of vital information for the price of one and makes audiences smile while it's at it. Take Tesco, one brand that knows a thing or two about two for the price of one, and their recent van sides. They use a clever piece of copy to communicate the convenience of online shopping and the fact that shoppers needn't compromise on quality or freshness. There's an informality in the message that helps humanise a supermarket giant, but the wordplay isn't laboured, so it doesn't become tiresome too quickly. A Tesco van is a moving billboard, used as much to market their brand as to deliver your weekly shop.

Low hanging fruit - but charmingly effective
Making people feel intelligent

Flattery will get you everywhere
From fruit that makes you think to food for thought. The Economist's now legendary ad campaign targeted intellectual decision makers and ambitious professionals. Clever wordplay is used extensively as it's aimed at intelligent, critical thinkers. But no less an authority than Paul Arden (for a long time, Saatchi & Saatchi's creative head) warned all copywriters, "Do not put cleverness in front of the communication". Whilst that's a good general rule, The Economist wanted to reach people who were just that: clever.

If audiences 'got' the adverts, the magazine was right for them. These ads work so well because the wordplay communicates a range of powerful emotional benefits: people who read The Economist are smart, important and witty, just like you. It also promised that the magazine's writing would be witty. It's not wordplay for wordplay's sake.

Making people remember

The best wordplay communicates as much as possible in as few words as possible - and makes it unforgettable to boot. The Saatchi & Saatchi poster for the Conservative party during the 1979 general election was so powerful, many commentators credited the advertisement for the Tory's landslide election win. In 1999 Campaign dubbed it the 'Best Poster of the Century'.


This one certainly worked a treat
Contained in the phrase 'Labour isn't working' are two distinct, but interconnected meanings that both make the reader think voting Conservative is a good idea: 'the Labour party isn't doing a good job' and 'unemployment is spiralling under Labour'. The fact that both messages are wrapped up in a smart pun - the word 'labour' means 'working' - makes the ad superbly memorable.


When to stop (word)playing around

Wordplay isn't always best. Those terrible puns you see adorning the fronts of hair salons the world over might be harmless. But if you're a big brand, you need to avoid the 'uh' reaction.

What Saatchi & Saatchi got right, Indian got dead wrong. This campaign from the US State, trying to persuade people to people from neighbouring Illinois falls flat - and not just because the pun itself is contrived. This sort of ad, coming from state government, should be formal, trustworthy and professional. That doesn't mean it can't be smart, like the Saatchi ad - but it should be serious. If a state can't take itself seriously, would you really trust it to provide the infrastructure, services and support you need from government? As we've explained elsewhere, it's important to take a long look at yourself before trying to reach out to your audience.

Death, taxes and dodgy puns

Seat again?

Here's another dodgy effort. Like Indiana's groan-worthy 'Illinoyed', Seat's wordplay misfires because consumers should have to mispronounce an existing word to get to your newly minted pun. Think back to Tesco's 'Freshly Clicked' - it should be a seamless blending of two different meanings, not a contrived forcing together of sounds in an attempt to get at something new.


Pun-enjoyable
Harsh criticism awaits for puns that flop or are misplaced: they are a joke falling flat. But ones that surprise by being delightfully adept are justly celebrated. Give it a go. You can always go back to a straight line if your writer has a bad day and can't come up with a winner. 

Thursday, 8 June 2017

The ten commandments of copywriting

Writing copy is an art - but there is method in the madness. Here are ten golden rules all copywriters should follow.


1. "Copy is not written. Copy is assembled" - Eugene Schwartz
'Copyassembler' would be a rubbish job title, but Schwarz is right. A copywriter takes all the materials in a brief - tone of voice, communication objective, product features - and assembles those elements in a way that will make the audience sit up and take notice. And then take action. A strong brief makes this process a lot easier.

2. "A lot of copywriters think they're good judges of their own work. I know I'm not." - David Ogilvy
 By way of illustration, here's a joke a graphic design friend likes to trot out now and then.

Q: How many copywriters does it take to change a lightbulb?
A: Copywriter: '*^%$ off! I'm not changing anything'.

Not all writers are protective. But everyone finds it hard to spot weaknesses, let alone mistakes, in their own work. Hence copywriting agencies, who have someone review the work when it's sent, are more popular with big brands than lone freelancers. Find out why it pays to go plural.


If only it was that simple...
3. "You must be as simple, and as swift, and as penetrating as possible" - Bill Bernbach
Even when a copywriter is grappling with a complicated message, the resulting copy should always be as simple as possible. Anything else is a copywriting sin.



Wednesday, 10 May 2017

Anglo-Saxon v Latin: why brands have to choose

The English language is a funny old mix of Anglo-Saxon and Latin vocabulary. But it's serious business when it comes to writing copy. Here's why the difference is vital for brand messaging and tone of voice.


One of the most striking ways you can alter the tone and meaning of what you write is by varying the use of Anglo-Saxon or Latinate vocabulary.

Anglo-Saxon words come from the languages spoken by Germanic settlers arriving in England from the fifth century. Latinate words derive from the British Isles' interactions with the Roman Empire and later medieval France. Today, the English language is a mercurial mix of the two.

It's important for brands to take note of this because a copywriter's choice of words either way can have a big impact, both for messaging (what you say) and tone of voice (how you say it).

Short, simple, brutal
Spot the difference

So what's the difference? In a nutshell, Anglo-Saxon words are short, simple and blunt: 'think', 'pick', 'help', 'eat' and 'drink'. Compare these with their Latinate equivalents: 'imagine', 'select', 'assist', 'consume' and 'imbibe'. Latinates are multisyllabic, cerebral and a bit soft.

Saxon in action

What's that got to do with branding?

Tuesday, 11 April 2017

How to make everyone do what you want: the science of pre-suasion

Any piece of brand or marketing communication seeks to persuade audiences to do something. Now a new book promises to reveal the science behind the art.


As copywriters, persuasion is what we do and language is how we do it. As an agency, we've helped top brand agencies and companies influence audiences and regularly teach a Guardian Masterclass on how to write persuasive copy. We reviewed Robert Cialdini's Yes! 50 Secrets from the Science of Persuasion and found it a proper page turner. It's safe to say we were intrigued when his new book emerged last year promising 'A revolutionary way to influence and persuade'.


Persuasion
But what is persuasion, exactly? William Bernbach was one of the twentieth-century's most successful advertisers, so he knew a thing or two about how to get people to do things. But his much-quoted claim that "advertising is fundamentally persuasion and persuasion happens to be not a science, but an art," doesn’t ring so true in the twenty-first century.

Does this count as 'guiding preliminary attention strategically'?
The rise of behavioural economics (borrowing liberally from social science and psychology) has supplanted classical economic and theoretical explanations of why people buy stuff. In other words, we’re seeing the rise of persuasion as a science.

Tuesday, 14 March 2017

How to choose a conference theme that motivates

Every conference needs a theme. Clients want something that conveys the key message simply and memorably. Here are seven tips to help you go about it.


Make it snappy

A conference theme needs to be catchy, and it needs to work well in spoken conversation. To test this, just see if it can be used as noun: “Are you going to the Total Performance conference in March?” That’s punchy – it rolls off the tongue. “Are you going to the Making sustained progress: building on success conference in June”? Not so nifty.

"Erm, I know we said make it punchy..."

Thursday, 23 February 2017

Seven ways to improve any copy brief

You know the feeling. A brief comes in and it just hits the nail on the head. But what exactly makes a brief spot on? Here are seven things to look out for that’ll guarantee your next brief is up to scratch.

1. Go deep: reveal how your audience ticks



Getting to know your audience...




If you don’t get to know your audience inside-out, you might as well be playing a game of marketing pin the tail on the donkey, and that’s a bleak birthday party no-one wants to go to. Tell us what makes your audience tick.


2. And take a long, hard look in the mirror: be honest

Is your brand really that strong?
You might know exactly what you want customers to think, but what are customers thinking right now when they encounter your brand? What are you doing right – and what are you getting wrong?

Jeff Bezos, founder of Amazon.com, says, 'Your brand is what other people say about you when you're not in the room'. To produce a strong creative brief, a brand needs to be honest with itself about its weaknesses, warts and all.