Hey, Whipple, Squeeze This E-Book

Luke Sullivan

• Herausgeber: John Wiley & Sons
• Kategorie: Fachliteratur
• Sprache: Englisch

Seitenzahl: 677

Veröffentlichungsjahr: 2016

Beschreibung

The classic guide to creating great advertising now covers all media: Digital, Social, and Traditional Hey Whipple, Squeeze This has helped generations of young creatives make their mark in the field. From starting out and getting work, to building successful campaigns, you gain a real-world perspective on what it means to be great in a fast-moving, sometimes harsh industry. You'll learn how to tell brand stories and create brand experiences online and in traditional media outlets, and you'll learn more about the value of authenticity, simplicity, storytelling, and conflict. Advertising is in the midst of a massive upheaval, and while creativity is still king, it's not nearly enough. This book is an essential resource for advertising professionals who need up-to-date digital skills to reach the modern consumer. * Turn great ideas into successful campaigns * Work effectively in all media channels * Avoid the kill shots that will sink any campaign * Protect your work * Succeed without selling out Today's consumer has seen it all, and they're less likely than ever to even notice your masterpiece of art and copy, let alone internalize it. Your job is to craft a piece that rises out of the noise to make an impact. Hey Whipple, Squeeze This provides the knowledge to create impressive, compelling work.

Leseprobe

CONTENTS

Cover

Title Page

Copyright

Preface

Introduction: On Being the Second-Smartest Person in the Room

Chapter 1: A Brief History of Why Everybody Hates Advertising

The 1950s: When Even X-Acto Blades Were Dull

“What?! We Don't Have to Suck?!”

The Empire Strikes Back

Portrait of the Artist as a Young Hack

Chapter 2: The Creative Process

Why Nobody Ever Chooses Brand X

Staring at Your Partner's Shoes

Why the Creative Process is Exactly Like Washing a PIG

“The Sudden Cessation of Stupidity”

It's All About the Benjamins

Brand = Adjective

Simple = Good

Chapter 3: Ready Fire! Aim

Before You Put Pen to Paper

A Few Words on Authenticity

The Final Strategy

Chapter 4: The Sudden Cessation of Stupidity

Get Something, Anything, on Paper

“Do I Have to Draw You a Picture?”

Chapter 5: Write When You Get Work

95 Percent of All Advertising is Poorly Written—Don't Add to the Pile

Writing Body Copy

A Few Notes on Design and One on Thinning the Herd

Chapter 6: The Virtues of Simplicity

Make Sure the Fuse on Your Idea Isn't Too Short or Too Long

A Few Words About Outdoor (Three Would Be Ideal, Actually)

Chapter 7: Stupid, Rong, Naughty, and Viral

The Art of Being Rong®

The Strategic Invincibility of Stupid

“Love, Honor, and Obey Your Hunches”

Build A Small, Cozy Fire With the Rule Books. Start With This One

Chapter 8: Why Is the Bad Guy Always More Interesting?

Platforms: The Mother of Stories

Chapter 9: Zen and the Art of Tastee-Puft

What to Do When You're Stuck

Chapter 10: Digital Isn't a Medium, It's a Way of Life

We Are So Not In Kansas Anymore

Funny, It Doesn't Look Like Advertising

Chapter 11: Change the Mindset, Change the Brief, Change the Team

“We Have Met the Enemy and It is Us” (Actually, It's the Brief)

The Post–Bill-Bernbach Creative Team

Partner with Creative People Who aren't in the Advertising Business

Combine Art, Copy, and Technology

It's no Longer About “the Dude With the Idea”

Unite Storytellers and Systems Thinkers

“Keep the Team to Two Pizzas”

Fewer Generals, More Soldiers

Shut Up and Write

Chapter 12: Why Pay for Attention When You Can Earn It?

Start with What People are Already Talking About

Join an Ongoing Conversation or Jump-Start a New One

Connect People to One Another

Make Things That are Useful

Design Your Ideas to Migrate

Embrace the Warp Speed of the Internet

Do > Invite > Document > Share

Start with More Interesting Questions: Try “How Might We…?”

“Instead of Coming Up with Advertising Ideas, Come Up with Ideas Worth Advertising”

Parting Thoughts

Chapter 13: Social Media Is the New Creative Playground

Mastering Good Social Media Practices

Different Tech Platforms Foster Different Creativity

Chapter 14: How Customers become Customers in the Digital Age

Yes, Content is King (But it Reports to Concept)

As the Screen Gets Smaller, Mobile Gets Bigger

Five Things That Make For a Good Mobile Idea

Bottom Line: Everything is Media

Chapter 15: Surviving the Digital Tsunami

Chapter 16: In the Future, Everyone Will Be Famous for 30 Seconds

Creating the Commercial

Chapter 17: Radio Is Hell, but It's a Dry Heat

Writing the Commercial

The Joy of Sfx

Casting: Boring, Tedious, Essential

Producing a Radio Commercial

Some Radio Spots that Were Funny Before They Were Recorded

Chapter 18: Only the Good Die Young

The Sisyphus Account

The Meat Puppet

Pablum Park

The Koncept Krusher 2000®

The Bully

Hallway Beast #1: The Hack

Hallway Beast #2: The Prima Donna

Hallway Beast #3: Mr. Important Pants

Hallway Beast #4: The Whiner

Hallway Beasts #5 and #6: Wack Jobs and Slash Weasels

Hallway Beast #7: The Hour Gobbler

Chapter 19: Pecked to Death by Ducks

Presenting the Work

Research: Be Afraid, Be Very Afraid

Protecting Your Work

Picking Up the Pieces

Chapter 20: A Good Book…or a Crowbar

Putting Together a Book

Putting Together Your Site

Taking Your Show on the Road

The Interview

Some Final Thoughts

Chapter 21: Making Shoes versus Making Shoe Commercials

“Advertising: The Most Fun You can have With Your Clothes On”

Suggested Reading

Bibliography

Also by Luke Sullivan

Acknowledgments

About the Author

Index

End User License Agreement

List of Illustrations

Figure 1.1

Figure 1.2

Figure 1.3

Figure 1.4

Figure 2.1

Figure 2.2

Figure 3.1

Figure 3.2

Figure 3.3

Figure 3.4

Figure 3.5

Figure 3.6

Figure 4.1

Figure 4.2

Figure 4.3

Figure 4.4

Figure 4.5

Figure 4.6

Figure 4.7

Figure 4.8

Figure 4.9

Figure 4.10

Figure 4.11

Figure 4.12

Figure 4.13

Figure 4.14

Figure 4.15

Figure 4.16

Figure 5.1

Figure 5.2

Figure 5.3

Figure 5.4

Figure 5.5

Figure 5.6

Figure 5.7

Figure 6.1

Figure 6.2

Figure 6.3

Figure 6.4

Figure 6.5

Figure 6.6

Figure 6.7

Figure 6.8

Figure 6.9

Figure 6.10

Figure 6.11

Figure 6.12

Figure 6.13

Figure 6.14

Figure 6.15

Figure 6.16

Figure 6.17

Figure 6.18

Figure 7.1

Figure 7.2

Figure 7.3

Figure 7.4

Figure 7.5(a)(b)

Figure 7.6

Figure 7.7

Figure 7.8

Figure 7.9

Figure 7.10

Figure 7.11

Figure 8.1

Figure 8.2

Figure 8.3

Figure 8.4

Figure 9.1

Figure 9.2

Figure 10.1

Figure 10.2

Figure 10.3

Figure 10.4

Figure 10.5

Figure 11.1

Figure 11.2

Figure 11.3a

Figure 11.3b

Figure 11.4

Figure 11.5

Figure 12.1

Figure 12.2

Figure 12.3

Figure 12.4

Figure 12.5

Figure 12.6

Figure 12.7

Figure 12.8

Figure 12.9

Figure 12.10

Figure 12.11

Figure 13.1

Figure 13.2

Figure 13.3

Figure 13.4

Figure 13.5

Figure 13.6

Figure 14.1

Figure 14.2

Figure 14.3

Figure 14.4

Figure 14.5

Figure 15.1

Figure 15.2

Figure 15.3

Figure 16.1

Figure 16.2

Figure 16.3

Figure 16.4

Figure 16.5

Figure 16.6

Figure 17.1

Figure 17.2

Figure 18.1

Figure 18.2

Figure 18.3

Figure 19.1

Figure 19.2

Figure 19.3

Figure 19.4

Figure 19.5

Figure 19.6

Figure 20.1

Figure 20.2

Figure 20.3

Figure 20.4

Figure 21.1

Guide

Cover

Table of Contents

Begin Reading

Chapter 1

Pages

i

iv

vii

viii

ix

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

132

133

134

135

136

137

138

139

140

141

142

143

144

145

146

147

148

149

150

151

152

153

154

155

156

157

158

159

160

161

162

163

164

165

166

167

168

169

170

171

172

173

174

175

176

177

178

179

180

181

182

183

184

185

186

187

188

189

190

191

192

193

194

195

196

197

198

199

200

201

202

203

204

205

206

207

208

209

210

211

212

213

214

215

216

217

218

219

220

221

222

223

224

225

226

227

228

229

230

231

232

233

234

235

236

237

238

239

240

241

242

243

244

245

246

247

248

249

250

251

252

253

254

255

256

257

258

259

260

261

262

263

264

265

266

267

268

269

270

271

272

273

274

275

276

277

278

279

280

281

282

283

284

285

286

287

288

289

290

291

292

293

294

295

296

297

298

299

300

301

302

303

304

305

306

307

308

309

310

311

312

313

314

315

316

317

318

319

320

321

322

323

324

325

326

327

328

329

330

331

332

333

334

335

336

337

338

339

340

341

342

343

344

345

346

347

348

349

350

351

352

353

354

355

356

357

358

359

360

361

362

363

364

365

366

367

368

369

370

371

372

373

374

375

376

377

378

379

380

381

382

383

384

385

386

387

388

389

390

391

392

393

394

395

396

397

398

399

400

401

402

403

404

405

406

407

408

409

410

411

412

413

414

415

416

417

418

419

420

421

422

423

424

425

426

427

428

Fifth Edition

Hey, Whipple, Squeeze This

The Classic Guide to Creating Great Ads

Luke Sullivan

Edward Boches

Cover image: Wiley

Cover design: Emi Tulett

Copyright © 2016 by Luke Sullivan and Edward Boches. All rights reserved.

Published by John Wiley & Sons, Inc., Hoboken, New Jersey

Published simultaneously in Canada

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, [phone], fax [phone], or on the Web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, [phone], fax [phone], or online at www.wiley.com/go/permissions.

Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom.

For general information about our other products and services, please contact our Customer Care Department within the United States at [phone], outside the United States at [phone] or fax [phone].

Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.

Library of Congress Cataloging-in-Publication Data:

Names: Sullivan, Luke, author. | Boches, Edward, author.

Title: Hey, Whipple, squeeze this : the classic guide to creating great ads / Luke Sullivan and Edward Boches.

Description: Fifth edition. | Hoboken : Wiley, 2016. | Revised edition of the author's Hey Whipple squeeze this!, 2012. | Includes index.

Identifiers: LCCN 2015036806 (print) | LCCN 2015044517 (ebook) | ISBN 978-1-119-16400-5 (paperback) | ISBN 978-1-119-16402-9 (ePDF) | ISBN 9781119164036 (ePub) | ISBN 978-1-119-164029 (pdf) | ISBN 978-1-119-164036 (epub)

Subjects: LCSH: Advertising copy. | BISAC: BUSINESS & ECONOMICS / Advertising & Promotion.

Classification: LCC HF5825 .S88 2016 (print) | LCC HF5825 (ebook) | DDC 659.13/2–dc22

LC record available at http://lccn.loc.gov/2015036806

Preface

This is My Fantasy

We open on a tidy suburban kitchen. Actually, it's a room off to the side of the kitchen, one with a washer and dryer. On the floor is a basket full of laundry. The camera closes in.

Out of the laundry pops the cutest little stuffed bear you've ever seen. He's pink and fluffy, he has a happy little face, and there's one sock stuck adorably to his left ear.

“Hi, I'm Snuggles, the fabric-softening bear. And I…”

The first bullet rips into Snuggles's stomach, blows out of his back in a blizzard of cotton entrails, and punches a fist-sized hole in the dryer behind. Snuggles grabs the side of the Rubbermaid laundry basket and sinks down, his plastic eyes rolling as he looks for the source of the gunfire.

Taking cover behind 1/16 inch of flexible acrylic rubber, Snuggles looks out of the basket's plastic mesh and into the living room. He sees nothing. The dining room. Nothing.

Snuggles is easing over the backside of the basket when the second shot takes his head off at the neck. His body lands on top of the laundry, which is remarkably soft and fluffy. Fade to black.

We open on a woman in a bathroom, clad in an apron and wielding a brush, poised to clean her toilet bowl. She opens the lid.

But wait. What's this? It's a little man in a boat, floating above the sparkling waters of Lake Porcelain. Everything looks clean already!

With a tip of his teeny hat, he introduces himself. “I'm the Ty-D-Bowl Man, and I…”

Both hat and hand disappear in a red mist as the first bullet screams through and blows a hole in the curved toilet wall behind the Ty-D-Bowl Man. Water begins to pour out on the floor as the woman screams and dives for cover in the tub.

Ty-D-Bowl Man scrambles out of the bowl, but when he climbs onto the big silver lever, it gives way, dropping him back into the swirling waters of the flushing toilet. We get two more glimpses of his face as he orbits around, once, twice, then down to his final reward.

We open on a grocery store, where we see the owner scolding a group of ladies for squeezing some toilet paper. The first shot is high and wide, shattering a jar of mayonnaise.…

IntroductionOn Being the Second-Smartest Person in the Room.

I got my first job in the business in 1979.

Some kid out there just went, “In 1979?? Dude, did they even have ads back then?”

Why, yes we did, thank you very much. My first agency job was at Bonetool, Thog & Neanderthal, and I worked on prestigious new products like Fire® and The Wheel.®

Actually, the kid does have a fair question. I mean, what can some 60-year-old know about digital advertising? Or animated GIFs, clickstreams, and superstitials?

As it turns out, a lot, actually, because to survive 33 years in the ad business, I had to stay completely up to the minute. And so will you.

You'll have to know about optimizing search engine results. You'll have to know what cool technology was just unveiled at SXSW Interactive. You'll have to know about APIs and RFIDs. And you'll have to keep learning new skills all the time.

Fortunately, you don't have to be an expert at everything. As a copywriter, I don't really have to know how to prototype an app. But if I want to be a valued member of my team, I basically have to be the second-smartest person in the room on that subject, and on every subject except copywriting…. Where I'd hope of course to be first-smartest.

Digitally, I've managed to hold my own through four editions of this book. Just the same, I figure it's time to bring in someone smarter than me on the subject.

Which brings me to our contributing author, Edward Boches. During his 31 years at agencies like Mullen and Hill Holiday, Edward went from being an early adopter and advocate of digital to a thought leader and recognized expert.

Edward wrote Chapters 10 through 15, but we passed the pen back and forth while writing this fifth edition, and so sometimes the word “I” means Edward, sometimes it's me.

Throughout the text you will occasionally see little boxes, like bit.ly/whipple5

It's usually next to the description of a piece of work that our words (as transcendently perfect as they are) do not do justice. It's work you really ought to see.

Bit.ly is a URL shortener. The main site for this fifth edition of Whipple is bit.ly/whipple5, and many of the pieces cited here reside there. Put that address in your bookmarks bar, after which you need only remember the suffix to get to any particular piece—like whipple5skittles or whipple5redbull.

One last note before we begin. You have purchased what is known as a “book.” Touching the pictures will not make them “play.” Note also, the pages do not “swipe.” You must grip the corner at the top of the right page and then sort of roll it back and to the left.

Figure 1.1This is Mr. Whipple.

1A Brief History of Why Everybody Hates AdvertisingAnd Why You Should Try to Get a Job There

I grew up pointing a finger gun at Mr. Whipple. You probably don't know him, but he was this irritating guy who kept interrupting my favorite television shows back in the day. The morning lineup was my favorite, with its back-to-back Dick Van Dyke and Andy Griffith shows. But Whipple kept butting in on Rob and Laura Petrie.

He'd appear uninvited on my TV, looking over the top of his glasses and pursing his lips at the ladies in his grocery store. Two middle-aged women, presumably with high school or college degrees, would be standing in the aisle squeezing rolls of toilet paper. Whipple would wag his finger and scold, “Please don't squeeze the Charmin.” After the ladies scurried away, he'd give the rolls a few furtive squeezes himself.

Oh, they were such bad commercials.

The thing is, I'd wager that if the Whipple campaign aired today, there would be a hundred different parodies on YouTube tomorrow. But back then? All we had was a volume knob. (“We had to walk to the TV set!”) Then VCRs came along and later DVRs, and the fast-forward button became our defense. We can just tell Whipple to shut the hell up, turn him off, and go get our entertainment from any number of other platforms and devices.

To be fair, Procter & Gamble's Charmin commercials weren't the worst thing that ever aired on television. They had a concept, although contrived, and a brand image, although irritating—even to a ninth grader. whipple5squeeze

If it were just me who didn't like Whipple's commercials, well, I might shrug it off. But the more I read about the campaign, the more consensus I discovered. In Martin Mayer's book Whatever Happened to Madison Avenue? I found this:

[Charmin's Whipple was] one of the most disliked…television commercials of the 1970s. [E]verybody thought “Please don't squeeze the Charmin” was stupid and it ranked last in believability in all the commercials studied for a period of years….