Hey Whipple Squeeze This

CH 1 According to Norman Berry, a British creative director at Ogilvy & Mather, what kind of advertising "is bad for the entire industry and bad for business as a whole?"

(ODAS) Offensive, dull, abrasive, stupid advertising

Ch 10 Why do you want to avoid "golden handcuffs"?

A big agency will pay you big bucks to cranks out dull ads

Ch 7 When writing a dialogue radio script remember...

All of the above

Ch 3 How should you work with your partner?

Allow them to have terrible ideas.

Ch 10 SUMMARIZE: The Sisyphus Account.

As long as they make their numbers they don't care about creativity* (revision needed)

Ch 3 What don't you have to be afraid of?

Asking dumb questions

Ch 5 When designing a TV commercial, avoid ______________ approaches. Tell a story with ______________________.

Avoid verbal approaches, tell a story with pictures

ch 7 When writing radio what thing do you want to avoid?

Getting serious in sales part of the "shtick-sales-shtick" structure

Ch 8 If you're about to spend advertising dollars on a campaign and you can't imagine that anybody is going to ______________________ or _______________________ you might want to rethink it. It means you probably missed injecting a _________________ or _____________________ into it.

If you're about to spend advertising dollars on a campaign and you can't imagine that anybody is going to _WRITE ABOUT IT_ or _TALK ABOUT IT_ you might want to rethink it. It means you probably missed injecting a _TRUTH_ or _SOCIAL TENSION_ into it.

Ch 7 Which one of these statements is NOT true:

In radio the canvas is small.

Ch 1 In the 70's advertising entered an era where strategy was king and Al Ries and Jack Trout originated the term _______________ , where advertisers placed a product within a category in a space of its own.

Positioning

Ch 3 Provocative is _______________? Remember :There is Provo in Provocative.

Provocative is good.

Ch 8 The very environment where the ad appears affects the way people _______________ it, and because their __________________________ is down, it has an additional element of _______________ .

The very environment where the ad appears affects the way people _INTERPRET_ it, and because their _AD GUARD_ is down, it has an additional element of _SURPRISE_ .

Ch 8 What we're doing is looking for _____________. ...We're looking for ______________________ with customers that are ________________ . We're looking for places where customers might even ______________________________________________.

What we're doing is looking for _CONTACT POINTS_. ...We're looking for _CONTACT POINTS_ with customers that are _UNEXPLORED_ . We're looking for places where customers might even _WELCOME A COOL MESSAGE_.

Ch 4 Writing is a way of __________________________.

Writing is a way of thinking

Ch 1 Who said a commercial needn't sacrifice wit, grace or intelligence in order to increase sales? a. __________________ He also said, "It's not just what you say that stirs people. It's the way b._____________ .

a. William Bernbach. b. It's the way you say it

Ch 9 Bernbach said, "Execution can become __________________ ." Mark Fenske said, "You cannot _________________ your way to an audience's heart."

content in a work of genius; logic

Ch 7 The Greeks used a technique called media res. In radio that means...

cutting to the middle of things

Ch 10 It doesn't matter how good your ad is, it can ____________

die

Ch 5 Just because you can think up an idea for TV commercial doesn't mean you can ______________________________

doesn't mean you can afford to shoot it

Ch 4 It feels better when you save your punch for the ______________ of the sentence.

the end of the sentence.

Ch 4 Helmut Krone: "...you should be able to tell who's running that ad at a distance of _________________ feet."

twenty feet

Ch 7 Which answer is NOT correct, when using sound effects in a radio commercial?

use a siren to get attention

Ch 4 Write to ________________________ person.

write to one person

Ch 4 Your ad needs a ________________ .

Boss

Ch 9 Once you've learned the rules, ________________________________. But even out in deep space, there is one rule you are obliged to obey. You must __________________________.

Break them; be relevant

Ch 1 First came unique selling propositions (Rosser Reeves in the 1950's). Then came The Clutter. After that came The Wall. This was followed by _______________

Creative Revolution

Ch 3 What should you do with the benefit

Dramatize the Benefit

Ch 2 What is the key word in this sentence? "Eventually you get to an idea that dramatizes the benefit of your client's product or service."

Dramatizes

Ch 10 What is the scariest thing a Meat Puppet can say?

I will know it when I see it

Ch 2 There are no short cuts. __________ your client. __________their product. ____________ their market. It will pay off.

Know the client, know their product, know their market.

Ch 2 Make your brand stand for ________________. Brand = ___________. Simple = __________ Volvo = __________

Make it stand for something. Brand=Adjective Simple=good Volvo=Safe

Ch 4 The rule of thumb is never ____________ what you're saying and never _________ what you're showing.

Never show what you're saying and never say what you're showing.

Ch 7 How is a radio ad like a parent/child relationship?

No one listens to radio intently, just like a child doesn't really listen to his/her parents.

Ch 4 Who wrote this headline? "Yippee! I'm off to my root canal!"

Sally Hogshead

Ch 8 Say something _________________ . Say something ______________ . Be _______________. Try not to look like an ___________ . ______________ strong. Have ___________ theme. ___________ don't tell. Make sure your idea works ______________. Reduce your number of ___________________. Find a _____________. Tell the ______________ and _____________ . Be ________________ . Use ____________ language. Entertain ______________ the spot. Leave a __________________ in the listener's mind. End dramatically...And create something so cool _____________________________ _________________________.

Say something _BELIEVABLE_ . Say something _RELEVANT_ . Be _SIMPLE_. Try not to look like an _AD_ . _OPEN_ strong. Have _ONE_ theme. _SHOW_ don't tell. Make sure your idea works _FAST_. Reduce your number of _MOVING PARTS_. Find a _VILLAIN_. Tell the _TRUTH_ and _RUN_ . Be _PROVOCATIVE_ . Use _SIMPLE_ language. Entertain _THROUGHOUT_ the spot. Leave a _PICTURE_ in the listener's mind. End dramatically...And create something so cool _DON'T HAVE TO PAY PEOPLE TO SEE IT_.

Ch 3 What do you need to know about simple? List a couple of ideas.

Simple is hard to miss Simple is better Simple is easier to remember

Ch 8 Simply _________________________________ across every possible ____________ ______________________ is no longer enough to stand out...Each piece of creative should ________________________________________________________________________________.

Simply _CHECKING THE BOXES_ across every possible _NEW_ _MEDIA CHANNEL_ is no longer enough to stand out...Each piece of creative should _STAND ON IT'S OWN AS A GREAT EXPRESSION OF THE BIG IDEA_.

Ch 7 Which of the following shouldn't you avoid?

Sound effects

Ch 7 When writing a radio commercial DO NOT...

Start slowly and build to a climax

Ch 3 What are the two problems you have to solve?

The Clients, and Yours.

Ch 1 When Luke Sullivan got hired, Tom McElligott shared with Luke what he called "the graduate school of advertising." What was it?

The One Show and Communication Arts

Ch 3 What should be incontestable?

The claim in your ad

Ch 4 The key to writing 100 workable headlines is that they all have to be ________________________.

They all have to be pretty good

Ch 7 What do the following radio spot ideas have in common—fake game shows, fake call-in shows, fake newscasts, answering machine messages, jingle parodies, and movie ad parodies:What do the following radio spot ideas have in common—fake game shows, fake call-in shows, fake newscasts, answering machine messages, jingle parodies, and movie ad parodies:

They are tired, overused formats that should be avoided.

Ch 4 Own something _________________.

Visual

Ch 10 What are two words you can expect from clients to want you to use in Pablum Park?

We care

Ch 2 Ten minutes of work at a real advertising agency should be enough to convince any cynic that ____________________________________________ _______ __ _______ __________________________________________________________ ____________ _____________________________________________________

You can't sell a product to someone who has no need for it. That you can't sell a product to someone who can't afford it. And that advertising can't save a bad product.

Ch 3 How does a strategy and execution intersect?

You have to hit strategy well and make something that you think is a good ad. Hit the overlap. Sweet spot between dullness and irrelevant brilliance

Ch 3 How should you feel about terrible ideas?

You should be happy to have them. You need to get rid of all the crappy ideas before the really good ones come.

Ch 2 How is making an ad like carrying the Olympic torch

You won't bear this important symbol all the way from Athens. Your job is just to move it a few miles down the road. Without dropping it in the dirt along the way.

Ch 5 When you open your TV spot with something visually interesting, you create what is called _______________________

a curiosity gap

Ch 3 What do you need to know about visuals in your work? List at least three things... a. b. c.

a. Be visual and go short on copy b. Coax an interesting visual out of your product c. Get visual cliches out of your system right away

Ch 5 David Fowler wrote, "Try to write the last _________________ first. If you can't, you don't need to write a spot, you need to develop a premise for a spot."

five seconds

Ch 4 Never walk away from a _____________________________________.

hot keyboard or drawing pad

Ch 9 Trust your ______________________. Trust your ________________________. As you try to figure out what would sell your product, consider _______________________________.

inhibitions; feelings; what would make you buy it

Ch 7 When coming up with an idea for a radio commercial...

it won't come off as well on paper as when it's on the radio.

Ch 9 You're going to need to know what they ________________, how they _________________, and how they ____________________________.

like; think; move about the world

Ch 5 Theorist suggest that ______________ is a cognitive structure our brains use to encode information. ________________has lasting power. (SAME WORD for both blanks.)

story

Ch 9 You're going to know your customer better than ____________________________.

the competition