20742nam a22003857a 4500 pucpr 20220623202037.0 m d 220304s2022 nju ob 001 0 eng d 1119819733 9781119819738 (electronic bk.) 9781119819691 pucpr eng pucpr pucpr rda CARIBET HF5825 S88 2016 23 659.13/2 Sullivan, Luke, author. Hey whipple, squeeze this : the classic guide to creating great advertising / Luke Sullivan. electronic resource Hoboken, New Jersey : Wiley, 2022. 1 online resource rdacontent text txt rdamedia computer c rdacarrier online resource cr rda text file Electronic book. Chapter 1 A Brief Historyof Why EverybodyHates Advertising: And why you should try to get a job there. -- 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: or, Why It’s Impossible to Explain What We Do to Our Parents. -- 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 Tell the Truth and Run: Saying the Right Thing the Right Way. -- Authority Gets Replaced with Fake. -- To Thine Own Brand, Be True. -- “Embracing the Suck.” -- Some Thoughts on Messaging. -- Start with a central human truth. -- What is the emotion at the center of the brand? -- Research your Brand, its Customers, and its Competition. -- Get to know the client’s customers as well as you can. -- Listen to customers talk. -- Imagine a day in the life of your customer. -- Develop a deep understanding of the client’s business. -- Examine the current positioning of the product or brand. -- Study your client’s previous work. -- Ask yourself what would make you want the product. -- Whenever you can, go for an absolute. -- Try to make your message incontestable. -- Try the competitor’s product. -- Look at the competitors’ advertising. -- Three Final Notes on Strategy. -- Insist on a simple strategy. -- Insist on a precise strategy. -- Insist on a relevant strategy. -- Remember: You have two problems to solve: the client’s and yours. -- Two Models for Strategy and Messaging. -- Chapter 4 A Controlled Daydream: Concepting: Coming up with Ideas. -- Get Something, Anything, on Paper. -- Just start. -- First, say it straight. Then say it great. -- Create a word and image list. -- Dig shallow holes everywhere. -- Allow yourself to come up with really terrible ideas that are no good at all. -- Work fast. Fail faster. -- Interpret the problem using different mental processes. -- Think it through before you settle for the ol’ exaggeration thing. -- Go in the opposite direction. -- Spend some time away from your partner, thinking on your own. -- Share your ideas with your partner, especially the kinda dumb ones. -- Allow your partner to come up with terrible ideas. Don’t play devil’s advocate. -- Let your subconscious mind do it. -- Low-hanging fruit, the barren wasteland, and eureka. -- A Few Words About Pictures. -- Can the solution be entirely visual? -- Can your brand own something visual? -- Coax an interesting visual out of your product or its benefit. -- Get the visual clichés out of your system right away. -- Metaphors must’ve been invented for advertising. -- Remember, something has to dominate the page. -- “Do I want to write a letter or send a postcard?” -- Can you use the physical environment as your visual? -- Show, don’t tell. -- Avoid style. Focus on substance. -- Chasing a Campaign Idea. -- Pick a small customer contact point and then think big. -- Once you get on a streak, ride it. -- Make sure every piece in the campaign makes sense all by itself. -- Work. Don’t talk. Work. -- Come up with a lot of ideas. Cover the wall. -- Write hot. Edit cold. -- Review all the ideas so far and look for patterns. -- Patterns are campaigns trying to come to life. -- Be objective. -- Big ideas transcend strategy. -- Don’t keep runnin’ after you catch the bus. -- Remember: Always show babies or puppies. -- Chapter 5 Brevity Is The Soul of Wit: The Art of Copywriting. -- Have a Writing Process. -- Stay off the stinkin’ computer. Use a pencil and a pad of paper. -- Create a word and idiom list. -- Get puns out of your system right away. -- Draw a square on the page and fill it with something interesting. -- First say it straight, then say it great. -- If your ad, billboard, or banner is just a headline, make it a great headline. -- Try being half-rational, half-random. -- Don’t just start writing headlines willy-nilly. Break it down: Do willy first, then move on to nilly. -- If the idea needs a headline, write 100. -- Show Level The Architecture of Ideas. -- “A smile in the mind.” -- The paraprosdokian and the parallelism: Tension and release in a sentence. -- Tension and release in an idea. -- The clever-headline, straight-visual “rule.” -- Show Level Voice and Tone. -- Write like you’d talk if you were the brand. -- Or pretend you’re writing a letter. -- At the same time, remember to write like people talk. -- On writing brand manifestos. -- Listen to stand-up comedians talk about your product, brand, or its category. -- Don’t set out to be funny. Set out to be interesting. -- Before we break for coffee, a short master course in writing with emotion. -- Flow and Readability. -- Write hot. Edit cold. -- Pretend your brand is arriving at a party. -- Don’t have a “pre-ramble.” -- Never, ever, not even once, or even just a little bit, ever use exclamation points anywhere, ever. -- Never use fake names in a headline (or anywhere else, for that matter). -- Vary your sentence length and pacing. -- Once you lay your sentences down, spackle between the joints. -- Break your copy into short paragraphs. -- When you’re done writing the copy, read it aloud. -- When you’ve finished writing something, go back and cut it by a third. -- An idea isn’t finished until it leads the customer somewhere. -- Proofread your own work. -- If you have to have one, make your tagline an anthem. -- Chapter 6 The Virtues of Simplicity: or, Why it’s Hard to Pound in a Nail Sideways. -- Make sure the fuse on your idea isn’t too long or too short. -- Simple has stopping power. -- Simple is bigger. -- Simple breaks through clutter. -- Keep paring away until you have the essence of your idea. -- A Few Words About Outdoor. (Few Being the Key Word.) -- Billboards and posters force you to be simple. -- Outdoor’s super-power: Size. -- Digital technology is also changing outdoor. -- As long as we’re talking about OOH, WTF is “new media”? -- In this medium, your ideas must delight people. -- Chapter 7 Why is The Bad Guy Always More Interesting?: Storytelling, Conflict, and Brand Platforms. -- Brand Platforms: The Mother of Stories. -- Campaigns versus platforms. -- Platforms are ideas that create ideas. -- Think of a campaign as a movie and a platform as a Hollywood franchise. -- Two signs you have a platform: It fits on a sticky note and it starts talking and won’t shut up. -- Truth + conflicts = platform. -- Nonlinear Storytelling. -- Chapter 8 Rewiring your Brain: Chasing Ideas and Making Big Creative Leaps. -- Why solve problems when finding problems is way cooler? -- How might we? -- Tom Monahan’s wonderful exercise: Ask a better question. -- Try rewriting the brief’s key message as a key question. -- Monahan’s Intergalactic Thinking. -- Getting to big ideas by creating hashtags. -- Chapter 9 Viral, Naughty, and Rong®: Getting Noticed, Getting Talked About. -- The Art of Being Rong. -- Start by questioning everything. -- Rong means going 180 against common sense. -- “Will people talk about this idea?” -- “Are you sure they’ll even let us do this idea?” -- What is the “press release” of your idea? -- What makes an idea contagious? -- Try doing something Rong with the medium. -- Try changing the product or make a new one. -- Advice on working way out past the edge. -- “Love, Honor, and Obey Your Hunches.” -- Build a Small, Cozy Fire with The Rule Books. Start with This One. -- Chapter 10 Advertising 2.0: Moving from Analog Into Digital. -- Where Advertising is Going. -- It’s less about messaging and more about content. -- It’s less about what brands say and more about what they do. -- It’s less about messaging and more about experiences. -- It’s less about trying to make people want stuff and more about making stuff people want. -- It’s less about keeping up with a marketing schedule and more about keeping up with culture. -- It’s less about talking at customers and more about talking with them. -- The new ideas don’t just fill media spaces. They create them, even hijack them. -- The new ideas are shareable and participatory. -- The new ideas combine art, copy, and technology. -- Almost everything in advertising is changing. That includes the creative briefs. -- Everything is media. -- Chapter 11 Make the Idea Bigger, Not the Logo: or, Why Branded Content is More Interesting than Advertising. -- Show Level The hard part: Come up with something that works from both an entertainment and a marketing perspective. -- Think like a publisher. -- Done beats perfection. Lean toward action. -- Tell stories with data. -- Use “do-invite-capture-share” to get customers to create branded content for you. -- Create Brand Experiences. -- Chapter 12 Concepting for the Hive Mind: Creating Buzz with Social Marketing. -- Mastering Good Social Media Practices. -- The prime directive: Be interesting, entertaining, or useful. -- Knowing who your customer is one thing. Understanding communities is another. -- Start by listening. -- Map out a conversation strategy. -- Post stuff that helps boost a follower’s “social currency.” -- Clearly establish what the user/viewer is getting out of the interaction. What is the payoff? -- Speak to the community’s influencers. -- Connect people to one another. -- Experiment constantly and build on what works. -- Leverage the different technologies available in each social platform. -- Understand how to use hashtags. -- Involve users and let people cocreate. -- Be a person, not a corporate bot. -- Advice from Two Experts. -- “Mobile first. Behavior driven.” -- Create a content ecosystem. -- Examples of Great Social Campaigns and Some General Advice. -- Arby’s on TikTok. -- Two Instagram examples. -- Two Facebook examples. -- Some final thoughts. -- Chapter 13 Everything that Can be Digital, Will be: Creative Techs, Developers, and the Mobile Future. -- Creative Techs and Digital Developers. -- Like everything else in advertising, creative tech starts with the customer. -- Creative technologists design user experiences. -- Brand experiences can be immersive. -- Build things out of connected devices. -- Always be inventing. -- If Desktop Internet is Diving, Mobile is Snorkeling. -- Leverage mobile functions to create cool ideas. -- Web-based and native apps. -- Mobile ads. -- Chapter 14 Stopping People from Going to the Bathroom: Some Advice on Television and Video. -- If your idea isn’t great, no amount of production will save it. -- Can you make the imagery do all the work? -- Find one great image and build story into or out of it. -- Think simple. -- Think in terms of story. -- A good video should entertain throughout its entire length. -- Solve the last five seconds. -- Concept for one screen, design for big screens, and optimize for small. -- Don’t show what you’re saying, or say what you’re showing. -- Write sparely. -- For videos under 15 seconds, do you have to write anything? -- Chapter 15 Creative Mind Versus Monkey Mind: Or, Managing Time, Energy, Panic, and your Creative Mind. -- What to Do When you’re Stuck. -- First of all, being stuck is a good sign. -- “Start from where you are.” -- If you’re stuck, relax. -- Leave the office and work somewhere else. -- Change something. Anything. -- Blow up everything. Start over. -- Stay off the stinkin’ computer. -- What does the ad want to say? -- Go to the store where they sell the stuff. -- Go to a bookstore and study books on your subject. -- Ask your creative director for help. -- Get more product information. -- It helps to work on several projects at once. -- Don’t burn up energy trying to force something to work. -- Be patient. -- Learn to enjoy the process, not just the finished work. -- Remember, you aren’t saving lives. -- Chapter 16 Pecked to Death by Ducks: Presenting and Protecting your Work. -- Presenting the Work. -- Learn the client’s corporate culture. -- Present your own work. -- Practice selling your campaign before you go in to present. -- Don’t try to memorize a speech. -- Don’t be slick. Clients hate slick. -- Keep your “pre-ramble” to an absolute minimum. Dive right in. -- Talk slowly. -- Don’t hand out materials before you present. -- Don’t present your campaign as “risk-taking work.” -- Before you unveil your stuff, don’t assure the client “you’re going to love this.” -- Never show a client work you don’t want them to buy. -- Conversely, don’t leave your best work on the agency floor. -- At the presentation, don’t just sit there. -- “They may be right.” -- Listening doesn’t mean saying “yes.” -- Choose your battles carefully. -- Show Level Creative Testing: be Afraid. be Very Afraid. -- In advertising, research isn’t science. -- Testing sketches of ideas doesn’t work. -- Science cannot breathe life into something. Dr. Frankenstein already tried this. -- Show Level Protecting your Work. -- Base your defense on strategy. -- Do not try to solve the problem in the meeting. -- Somebody asks to cram more stuff into the idea. -- Somebody says, “Negative approaches are wrong.” -- Somebody asks, “Why are we wasting 25 seconds of our TV spot entertaining people?” -- The best defense: Educate clients with examples of great advertising. -- Outlast the objections. -- Show Level Picking up the Pieces. -- There’s always another idea. -- Once work is approved, don’t lose vigilance. -- Don’t get depressed when work is killed. -- After you’ve totaled a car, you can still salvage stuff out of the trunk. -- If you’re not producing agency work, do freelance. -- Keep a file of great dead ideas. -- Chapter 17 Just Start World War Iii: What it Takes to Get Into the Business. The Work. -- Come up with monstrous ideas, not just monstrous ads. -- Do not show just ads. Show mind-roasting campaign ideas executed in a variety of media. -- “Show me an original voice.” -- Now is not the time to play it safe. -- Nor is this the time to be clueless and naive. -- Round out your portfolio with a variety of goods and services. -- Your portfolio should show a variety of styles. -- Whatever you make, make it way better than it has to be made. -- Your portfolio has to have strong digital or interactive ideas. -- Don’t do an app, unless... -- Client work that’s been produced isn’t a good enough reason to have it in your book. -- Nobody expects your first book to include TV commercials. -- If you’re looking to land a copywriter’s position, show some writing, for Pete’s sake. -- Just before you put the final book together, cut everything that isn’t great. -- Show Level Putting your Website Together. -- The two prime directives: Speed and clarity. -- Put name and your job title at the top somewhere. -- Give special love and attention to your “About Me” section. -- Think about the order in which you want your work to appear. -- Put a one-sentence setup in front of each campaign. -- Use videos sparingly and only if they’re the fastest way to show an idea. -- Show Level Taking your Show on the Road. -- Do a clean, simple resumé. -- Learn how to use LinkedIn. -- Prepare your search strategy. -- “Networking.” -- Attend industry events. -- Establish a phone or an email relationship with someone working at the agency. -- Study the people and the agency before every interview. -- Deciding between big and small agencies. -- Show Level The Interview. -- Okay, first thing. It’s probably a pretty good idea to show up for your interview on time. -- In the interview, don’t just sit there. -- Before you start, ask if they’d like running commentary from you or not. -- Be ready to speak with precision about every piece in your portfolio. -- Show your ability to think strategically. -- Trust your instincts. -- Relax. Ask some questions. -- Have an opinion. -- Offer to do the grunt work, the jobs nobody wants. -- Let your readiness to work like crazy come off you in waves. -- If you’re willing to freelance, let ’em know. -- A few days after the interview, send a thank-you note. On paper. -- If you can’t get into the creative department, get into the agency. -- How to talk about money. -- Waiting for the phone to ring. -- Don’t choose an agency based on the salary they offer. -- Take a job wherever you can and work hard. -- “Interns? Cleanup in aisle three, please.” -- Show Level Use your Creativity for Good. -- Don’t check your morals at the door. -- You have a choice on the brands you will work for. -- Some Final Thoughts. -- Once you land a job, stick with it a while. -- Don’t let advertising mess up your life. -- Don’t underestimate yourself. -- Don’t overestimate yourself. -- Chapter 18 Advertising: The Most Fun you Can Have with your Clothes on: is This a Great Business or What? -- Stay Humble. -- suggested Reading -- Bibliography -- Notes -- Chapter 1: A Brief History of Why Everybody Hates Advertising -- Chapter 2: The Creative Process -- Chapter 3: Tell the Truth and Run -- Chapter 4: A Controlled Daydream -- Chapter 5: Brevity is the Soul of Wit -- Chapter 6: The Virtues of Simplicity -- Chapter 7: Why is the Bad Guy Always More Interesting? -- Chapter 8: Rewiring your Brain -- Chapter 9: Viral, Naughty, and Rong® -- Chapter 10: Advertising 2.0 -- Chapter 11: Make the Idea Bigger, Not the Logo -- Chapter 12: Concepting for the Hive Mind -- Chapter 13: Everything than Can Be Digital, Will Be -- Chapter 14: Stopping People from Going to the Bathroom -- Chapter 15: Creative Mind Versus Monkey Mind -- Chapter 16: Pecked to Death by Ducks -- Chapter 17: A Good Portfolio, or A Crowbar -- Chapter 18: Advertising: The Most Fun you Can Have with your Clothes On -- Acknowledgments -- About the Author -- Look for Online Hey Whipple Advertising Courses. -- Also by Luke Sullivan -- “The Shining... but Funnier.” -- Index -- EULA -- "Hey Whipple, Squeeze This, has helped generations of young creatives in advertising make their mark in the field. The lessons about writing and art direction contained in 5 previous editions of Whipple are still relevant. Creativity is still king. But students of the craft now need additional guidance to ply their craft in a digital-first world. This edition contains important new chapters and updates that explain how to create great advertising in any format, including viral video content for YouTube and TikTok, content-marketing, social media, digital campaigns, as well as traditional television, radio, print and outdoor ads"-- Provided by publisher. Added to collection customer.56279.3 Advertising copy. Business and economics 206142 Advertising and Promotion Electronic books. EBSCOhost https://search.ebscohost.com/login.aspx?authtype=ip,uid&custid=ns234700&groupid=main&profile=ehost&direct=true&scope=site&db=nlebk&db=nlabk&AN=3182962 Acceso Remoto EBSCOhost https://search.ebscohost.com/login.aspx?authtype=ip,uid&custid=ns234700&groupid=main&profile=ehost&direct=true&scope=site&db=nlebk&db=nlabk&AN=3182962 Acceso en el Campus PUCPR lcc 30 HF5825 Electrónico S88 2016 298610 298610 0 0 lcc 0 0 4 4 69 2022-06-16 EBSCO Publishing 49.00 0 Electrónico HF5825 S88 2016 caribet298610 2022-06-23 00:00:00 1 2022-06-23 30