In which Doreen asks, "Is Copy Strategy the same as Creative Strategy?"

The short answer, "Yes."
The long answer, "No."

While I've written a great deal on Kamikaze Creative Strategy(TM), some on Design Strategy, I'm not sure I've given Copy Strategy much text.  Like many good thoughts, this omission came to me in the Jacuzzi - and while I can't remember the post that wrote itself in the bubbles, I dried off thinking this was something I needed to address.

What is Copy Strategy?  How does it differ from Kamikaze Creative Strategy(TM)? If great copy is an intimate conversation between two people who know, like and respect each other, do you need a Copy Strategy at all?

Absolutely.

Kamikaze Creative Strategy's (TM) goal is, via the Kamikaze Key Fact(TM), to insinuate the client's product/service/importance/point of view/whatever into the Prospect's mind conceptually.  (In an Open Objective KCS, it also serves to reach the Prospect in a way that cannot be ignored.[1]) 

Copy Strategy, from style/voice to message/content, reinforces that conceptual connection while disseminating information in a way that makes the case for whatever argument fulfills the Kamikaze Creative Objective.(2)

There are four (4) basic components to Copy Strategy, all stemming from the original Kamikaze Creative Work Plan(TM).

1.  Concept.  Driven by the Kamikaze Key Fact(TM), the concept ties into something within the Prospect's emotional and factual reality.(3)  This relies - as does everything we do - on Prospect Centricity(TM) (4).  On a Prospect Definition (5) that gives you the insights to totally grok the Prospect on an intimate, personal level, regardless how big or small, diverse or homogeneous your Prospect Group. 

2. Language of Concept.(6)  LOC is a two-pronged stylistic decision.  Your Language of Concept is a writing style that falls out of the concept. At the same time - driven by the Prospect Definition and KKF - LOC speaks directly to the Prospect in language the Prospect will relate to.  Digesting your content with both emotional and intellectual appreciation/understanding.

My Style(7) classes and posts, while more technically driven, are always careful to start with that final point in mind.  If your LOC doesn't connect with the Prospect both emotionally and intellectually, it won't get read.  Personally, I've used ad poetry, romantic, archaic, slang, musical/lyrical, in your face, spiritually uplifting and Danger! Will Robinson! - among other - styles to do this.  Whatever the Prospect and Concept called for.

LOC is not a personal choice.  As in all good commercial writing/strategic thinking, it is Prospect driven. 

3.  Content.  Not something I've addressed directly, Content takes form in the Kamikaze Creative Work Plan(TM)/Kamikaze Creative Strategy(TM) as the Promise and Reasons Why.  Competitive Comparison also weighs in, especially perceived differences.

These three strategic considerations tell you what to say.  Properly executed, they also give you the weight and order each informational component carries.  Translating them into your LOC separates the bull from the truly motivational.  

Not easy, it takes real wordsmithing to translate financial, technical and meaningful Features and Benefits(7) into cartoon (Popeye, Super Heroes, etc.), poetic, wry (google Famous Quotes of Gore Vidal), demanding, whatever, verbiage.  

I am often asked for good examples of how to organize the informational aspects of Copy Strategy.  Advertising examples, alas, of truly great content expression/manipulation are few and far between.  Instead, I always point to the great essayists and editorial writers.

While I may disagree (sometimes near violently) with their points of view, few can match Bill (William F.) Buckley (deceased), George Wills, Leonard Pitt, Harry Golden (also deceased), Mark Twain (eternal) and even Dave Barry for making whatever their case may be in a few hundred words.  

Of course, few Prospects can be tricked (yes, great ad writing does involve strategic trickery) into reading the same amount of words essayists and editorialists are allowed.  Even in web writing and blogging, where you have more "physical" space to play with, your lines must read short and paragraphs not appear as big blockish things that visually discourage reading.

4.  Editing. (9)  In all great writing, The Joy is in the Edit.  Judicious and brutal editing saves the over-written and superfluous. Let it all out in the first flush of creative expression.  Then attack with KCWP in hand, slicing (and saving for later, perhaps) those perfect bon mots that are perfectly unnecessary.

This doesn't mean leaving a first and last paragraph of creatively executed Language of Concept surrounding a laundry list of features/benefits written in plain language.  Features and Benefits, especially, must be woven into the copy with style and often, wit. Never abandoning your LOC.

I once tortured a very talented student with an editing challenge I now offer you.  He had written a perfect stylistic piece on a hot car - Mustang, I think.  After he perfected the 150+ word piece, I challenged him to edit out 20%.  The easiest cut.

I then challenged him with an additional 50% cut.  Then another 25%.  When it seemed he had cut the piece to the bone, I demanded another 10-20% cut.

The result?  His copy was not only a highly readable length, by sticking to his Language of Concept, the copy was a hundred times better - and 100 times more motivational - than it was when he started.

Great ad writers can rewrite War and Peace in a single page. Leaving nothing essential missing.  Leaving the reader thinking, boy that was SO much better than the original!

Concept.
Language of Concept.
Content.
Editing.

All you need for a smart, creative and as importantly, digestible/motivational execution of a smart, conceptually sound and emotionally/intellectually compelling Copy Strategy and execution.

(1)  Open Objective - hit the Index, you won't be sorry.
(2)  Creative Objective - there's plenty in past posts.
(3)  Kamikaze Key Fact(TM) - the wings of your conceptual thinking. Hit the Index, it's discussed in down to earth fashion.
(4)  Prospect Centricity(TM) is the basis for everything we do.  Two recent posts, inspired by fellow advocate David Baldwin, will get you started.
(5)  Prospect Definition - do you have all you need to fully grok your Prospect?  Previous posts tell you how.
(6)  Language of Concept - been there, talked about that too.
(7)  Style - go for the Index, it's something I love.
(8)  Features & Benefits - if you don't know or only have a cursory idea, I've dissected these plenty.
(9)  Editing - older posts will help, but only age and experience deaden the pain.

In which David Baldwin reminds us to be responsible in how we do our jobs

Ironically, David posted the following Atlantic article on facebook today:

https://www.theatlantic.com/magazine/archive/2020/03/the-2020-disinformation-war/605530/?utm_sfeource=ed 

Once again, reminding us of the incredible power - and burden - doing what we do gives us.

Once again, reminding us expertise and ethics must go hand in hand

Or we are all lost.

I urge everyone to read the entire Atlantic article.

I urge everyone to stay the honest course, resist the shimmering urge of The Dark Side.

Ther is a reason Advertising Professionals rank below Used Car Salespeople (but above Politicians) in public trust surveys.

Do not be one of them.

Lest you be unable to look your grandchildren in the eyes when they breathe through their gas masks.

Lest you molder in a world of stagnant ignorant sameness.

Lest you kill the Gods of Creativity.

Lest you leave your great-grandchildren no Freedom of Speech.

Because you abused yours.

Thank you, David, for scaring the shit out of me. The article resonates, even from my garden in Cuenca, Ecuador, surrounded by the Andes, in my City of Dreams.

In which Doreen makes sense of How to Sell Your Stuff

If you've sat in on my classes, worked with or for one of my former students, you know my mantra is Prospect Centricity.

What's Prospect Centricity?  Simply stated (more info in my archives), in all things Creative, the Prospect Rules.  We work for the Prospect, build creative strategies based upon the Prospect's experience, self-image and point of view.  Concept from the Prospect's mind's eye.  Design to attract. Write to touch their gut, heart and soul. 

We are nothing if not the vehicle who connects our Prospect's life experiences, motivation triggers and desires to our client's products (have you read Sway, by Branfman and Branfman yet?).

Why should it be any different when it comes to selling our work?

Nick Cade (google him - you'll be impressed) tells me too often, the best written strategy beats out the best strategy.  What does that tell you?  Some writers know how to organize, present and write their thoughts in a way that motivates the decision makers above them.  Even if they don't have squat.

If all life is a negotiation (and it is - do we see the movie I want to see?  Or the one you want to see?  Where do we eat?  How much do I pay for the car? Can I spend the night?) - the way to get what you want is to present your desires clothed as someone else's.  In thoughts, words and deeds meant to hit someone else in a way they cannot decline.

If it works, it's because you totally grok whoever you're negotiating with.  Their wants, needs, comfort zones, boundaries, life experiences and personal motivators.

I learned long ago getting work approved, sold up the ladder and produced often had little to do with my strategic and creative abilities on the client's behalf.  It often had more to do with my ability to present in ways that spoke to the needs, hearts and desires of those who held the power of produce or go back to the drawing board.  

If you know your ACD, your CD, your GCD, your AE, your AS, your ECD, CEO and Client like you know your Prospect, you're much better equipped to get your work approved - in tact - than if you try to sell your ideas based upon merit and belief in them alone.

Sad but true.

Divorce your self worth and pride of creation from the equation.  Present to your Prospect.

I've had higher ups who only wanted work that looked and sounded like it was their idea.  To get my award-winning pieces produced, I learned to present it like it was.

I've had CDs and clients who had to change a word - or line - before they'd bless it, thus laying claim and signifying their participation in the creation of my bon motts and risk-taking ideas.  Rather than fight their will with mine, I learned to write red herrings (look it up) in just the right places so they could red pen then out, fix the typo, change the misplaced word. Thus saving my work from death by idiots, cowards and committees.

Oh but Doreen, aren't you the big ethicist?  The Above All to Thine Own Self Be True Girl?

Yup.  And that's what I did.  Fought for my work honestly and hard - just with their words, needs, egos and desires - not mine.

If I was presenting on Friday afternoon, I learned to make my pitch short, sweet and funny.  Even if the work was for funeral directors.

If I was presenting to an a$$hole, I learned to play to his/her most vulnerable spot, usually by couching things in their vernacular so it played to their hard heads, insecurities and/or blind spots.

If the room was tired, I'd liven things up.  If the client was an English Major, I'd write my presentation (rarely my copy) in complete sentences.  If my CD was a Designer or AD, I'd let that lead.

It wasn't lying, sucking up or betraying my work.  It was presenting to MY prospect - whether my Prospect was CEO, client or teammate - in a way that allowed them to appreciate, understand and for cripe's sake - MAKE IT BETTER OR LEAVE IT ALONE.

I was presenting in a way that let someone else see my idea for it was - great work that would meet the Kamikaze Creative Objective by motivating the real Prospect.  Not for what it wasn't - something that showed how smart, talented, professional, intelligent, creative I was.

We are never The Prospect, any more than our client or CD is.  Until you realize - and use all your skills to make that connection - you're going to come out of meetings hurt, angry and abused.  Or worse - over-looked, ignored and dead in the water.

Prospect Centricity.  Make it your Mantra - whether your job is motivating your client's Prospect - or your own.

NOTE:  This post is dedicated to my friend and fellow Prospect Centricity Warrior, David Baldwin.  David now preaches the gospel of Prospect Centricity with amazing work and mentorship while I meditate over breakfast in my garden here in Cuenca, Ecuador, surrounded by the Andes in my City of Dreams.