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.
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.
No comments:
Post a Comment