A Kamikaze Apology for Things Beyond My Control

I don't know how it happens, either.  All those extra colons, periods, spaces, ugly glitches in posts I actually edit and proofread at least a half-dozen times.

Pretty sure it has something to do with transition from Word to Blogger.  It's been suggested I try to write in Mac Text and transfer/copy from there.  After grades are out, I'll give it a shot.  Meanwhile, please forgive errors not of my making.  

 

How Kamikaze Creatives make:Best Dressed Copy lists: In which Doreen.pushes style farther and gives one doozie of an assignment.

Before I let you go crazy on this last assignment of the term, a few thoughts inspired by the pages of your last two.  Random thinking of style/language of concept:

If you’re aping a known style of writing/voice/attitude, exaggerate.  Overwrite, then whittle to the point of ridiculousness during the edit(s).  Our prospect may not be as into the small details of writing late night (think Shamwow) styled spots, so we need to exaggerate the form to its highest art (read “clichés”). 

  

Keep it visual.  Example:  this sparse but powerful vision penned by Dr. Hunter S. Thompson in Fear and Loathing in Las Vegas.  “...meat hook realities…”  Can’t you see the poor guy facing that bloody mess of an environment?  That’s him, third hook to the right.

Style needn't be an official Style.  Advertising is fashion.  In all its forms, agencies keep producing – no,  reproducing – work that cycles like a Jennifer Anniston hairstyle.  The first time you see it, it’s brilliant.  Give it a few weeks, watch an entire creative genre start, build and die like lapels and hemlines.  Work growing to fashion will dictate advertising style for the next few years.

When you use a particular style, everything must be in that style.  One slip, you’re toast.  Your features and benefits may not have existed in the Dark Ages, but must be put in Gothish English/mocking modern style.  Your roadster may sport z-rated Pirellis.  In Styleland your wheels were carved and installed by the well-known blacksmith, Enzo Pirelli. 

Don’t worry about toning it down.  Worry about using style as an excuse to ignore content/creative strategy.  The more you edit, the more the closer to what’s right you’ll be.  The chain of approval will let you know what’ll fly politically.  Your Kamikaze Prospect Definition will let you know how far you can go and still stay within the prospect’s comfort, interest/understanding of your stylistic approach.

Language of Concept most easily falls out of your concept (driven by a killer KKF, no doubt).  It must catch your prospect’s mind, ear and imagination in the private language of those who share some common experience/appreciation/sense of humor/sense of adventure/love of Sci-Fi/Damon Runyon street thugs/Justin Bebier. When it’s right, there’s rarely a choice. 

Whatever your muse, LOC forms almost on its own.  Not until the edit edit edit do you nail it – taking out/putting in those semantic, grammarian/non-grammarian details so important to hearing exactly what you say.

ON TO THE CIRCUS ASSIGNMENT:  The Circus students taking my class this term are required to do this.  Anyone else reading is more than welcome to play along.  Consider it as a reminder why we do this.

This is the last new assignment of the term.  Thursday afternoon’s live class is the deadline for this and all your final revisions of copy, lines, KCWPs I have asked you to revise.  Hard copies, all attached to each other somehow, please. I have copies of everything you’ve done, so all I want are the final edits and this assignment.  If I told you something was final, include it, labeled "Final."  Don’t forget to exchange work for classmate edits.

Hopefully, this one will amaze, amuse and frustrate the heck out of you:

One paragraph, written in your choice of three different styles.  Same KCWP, same copy, translated for the same prospect in three distinctly different styles. Each must include at least two features/benefits.  If there are more than two, use two in one style, two different ones in another, up to the six most important aspects in the minds of the prospect.

Here are some styles you might consider:

Murder mysteries – old English, modern, Nancy Drew/Hardy Boys, Dashiell Hammett, Miss Marple, Sherlock (Holmes or current PBS model), Berretta (stupid bumbling mumbling detective solves all), Dick Francis – whatever mystery style you want.

Romance novels.  Contemporary, historical of any period, but must be correct to its events, attitudes, Prospect Definition and importantly, style. 

Humor – all genres, all styles.  Can be of any attitude, semi-rude language, but must be Prospect Centered and conform to realities of product, style.  Sarcasm, overly dry or intellectual, political - which will best translate your message in a language they not only understand – but appreciate, find interesting, enjoy.  Most importantly, read and be motivated by your message and the way it’s presented, remember it.

Parody – be careful.  Do not insult, make fun of, vex or otherwise rise the ire of your Prospect.  Make sure you’re not too dismissive with your product. 

Lawrence Ferhlingetti.  I suggest (and highly recommend) A Coney Island of the Mind.

Anyone famous with a distinctive way of dress, speaking, point of world view.  If they’re famous you can pretty much imitate anyone you want.  What a concept!

I think you get the idea – there are gazillions of styles – recognizable styles – out there.  Pick three.  Your only limitations are always Prospect First.  Not your own ego/ambition.  Beyond Prospect approval there may also be varying tolerances of agency and client agendas to consider on the job.

For those still reeling, try this.

1.  Pick a Prospect
2. Pick a product with at least two strong features/benefits.  A product used/coveted by your Prospect.
3. Write a KCWP.  The only differences a style might command in your KCWP, if you have enough features/benefits to use two different ones in each style.  In this case your Promise/Reasons Why may differ with those using different F&Bs.
4.  Push your KKF.  Make sure it’s something the Prospect(s) all hold in common, some truth you can bend to the will of your Prospect, style, product, etc.
5. Concept, using different KKFs (fully pushed, then pushed some more) until you have a concept you can express in three distinctly different styles.
6. Write your paragraph in plain English first, as simply and ordered as possible.
7. Translate that paragraph into each of your three styles.
8. Almost forgot:  Post your favorite paragraph in this blog's Comments.  Let's share.
9. Oh – and don’t forget all your final revisions are due, too.

Looks like I will be down for a live class this Thursday afternoon.  More details after I speak w/Janie.  Have fun.

©2013, Doreen Dvorin/Kamikaze Creative.