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The Abominable Snowman, The Loch Ness Monster and The Advertising Copywriter

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The first two creatures are believed to exist, but their existence is yet to be proven. The latter creature; The Advertising Copywriter is proven, but might have ceased to exist.

Verily, The Advertising Copywriter, in all probability, has passed into legend; into the nether recesses of a time long gone.

Who reads copy anyway? In fact, if you’ve got to this sentence, you might actually qualify to receive a Victoria Cross Medal from the Forgotten Copywriter’s Relief Fund.

Copy is dead. Long live the Visual.

Who wants to read 8 words in a line or two, when s/he can feast on a 34D Cup in a Visual? Who wants to recognise that interesting turn of phrase, the marvellously crafted pun, that deliciously involving smart metaphor that casts a line and hooks you into reading an ad further, that brilliant reprise to the headline right at the end to clinch the argument?

Admit it, even you would have preferred a bloody visual to this diatribe. Something to make a point in 3 seconds and let you get back to your LinkedIn, your Facebook, your tweets and your social existence.

Yeah this is a rant. An unabashed, unashamed, undeniable and unembarrassed plea.

To clients who want visuals, because who reads copy. To account managers who want visuals, because they don’t read copy. To a 160-character generation who wants visuals, because copy for them is a single line that hopefully sings to them in a tune they can hum.

So it goes. The slow, choking and painful demise of The Advertising Copywriter. Who, these days, comes to his desk, retires his pen and logs on to an image bank to help his art director with a visual idea. The saddest part in this is that he’s probably forgotten himself, more than the world seems to have forgotten him.

There was a time when The Advertising Copywriter ruled the roost. When his words meant something. When his words moved the world. When a reader or consumer would feel the emotion of his words come through the verse – just as the Writer would feel when pouring his emotion to make a sale through the lamina of his pen meeting the grain of the paper.

The Yeti and Nessie might still be found. The Copywriter is lost forever.

P.S.: We at Slant believe the requiem for The Advertising Copywriter has still to be composed. Indeed, if you need finely-tuned copy for your brand, don’t get lost searching for The Loch Ness Monster. Just contact us. 

10 Quick Tips to Run A Start-up Ad Agency

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It’s the era of start-ups. Why should advertising be any different? After 20 years of being an advertising employee, one ventured to start an agency in 2015, based out of Dubai. So considering the ‘limited’ experience of 2 years in business, here are 10 Quick Tips to run a startup Ad Agency:

  1. Be a start-up. Not an upstart: Keep your attitude at the door. Be humble. Be grateful. Embrace every opportunity as if it is your last.
  2. Answer every email: In 15 minutes of receiving it. Yes, you have no idea how professional this makes you seem like. An email answered quickly is a client gained or retained.
  3. Make a rate card: You may not have all the bells and whistles of a medium-sized or large agency. You can still have a rate card. Ensure your rates are judicious and in line with the talent and resources you offer.
  4. Look one day ahead: It’s very easy to lose patience, or harbour a desire to quit in a snap. The easiest way to get around this is to plan for just 1 day, every day. There’s no point in getting ahead of yourself.
  5. Invest profits to cover losses: On jobs that you make a little more money, keep that extra revenue to cover up for lean periods or months where you don’t hit your targeted revenue.
  6. Learn: Multi-task like hell. If you’re a writer, learn some basic art software. If you’re an art director, learn to make a presentation. If you’re a press specialist, learn some digital tools. And keep learning.
  7. Don’t get an office: Unless you have an investor or extra money. Clients might want to meet in an office. There’s always a coffee shop. There’s no embarrassment in having a virtual office. You thinking on your feet matters, not the square feet your agency occupies.
  8. Rules are rules: Licensing. Workman’s compensation. Insurance. Renewals. Book Audits. And with the VAT coming in soon, you have to force yourself to understand what you wish to excuse yourself from.
  9. Carry your visiting cards: Always. I have missed 4 good opportunities on possible clients, just because I wasn’t carrying my cards. Keep 10 in your wallet at all times, even when going for a movie.
  10. Smile at smirks: People will talk behind your back. They will criticise you. They will tell you how to run your business. They will say it’s best to get back to an agency desk job. They can go graze their own grass.

The underestimation of Creative Madness

By | Slant Creative

André Gide, French author and Nobel Prize winner in Literature, once espoused that “the most beautiful things are those that madness prompts and reason writes.” This is particularly true when it comes to the very essence of creative pursuits.

 

Take writing, drama, acting, painting, poetry, sculpture or any such creative occupation, and one is bound to see Madness at play; Madness being an essential, perhaps the most important creative ingredient. After all, isn’t it true that when we focus on just the intellect, we say ‘genius’, but when that intellect is melded with a dash of eccentricity, we say ‘mad genius’? In this subtle difference, lies the rub.

Look into history, and you see Madness manifest itself in all its glory. Take Lady Gaga for instance. It’s not just her music which gets talked about. It’s also the accompaniment of the entire retinue of crazy bells-and-whistles: the outrageous costumes, the suggestive choreography, the need to shock and awe. Would a sane person display such levels of creativity? And then there are those who’ve put themselves at harm thanks to their Madness Quotient. Sylvia Plath went ahead and offered her head to an oven. Van Gogh’s genius ultimately led to him severing his own ear. Now, am not advocating that just because one is creative, one is also prone to self-flagellation. But it’s this ‘manicness’ which is quintessential to most creative people. Indeed, sometimes the more schizoidal you are, the more creatively fertile you might tend to become.

Anyway, this is not a post to discuss Cognitive Dissonance and Behavioral Nuerosciences. This is just a humble reminder to everyone that in today’s straitjacketed world of stereotyped cookie-cutters, a splash of Madness in a person should never be underestimated.

I speak from my own experiences in the field of Advertising. As a creative (and one who is a self-anointed lunatic), one has met and worked with a host of colleagues and clients, suppliers and partners. And one has always been more attracted to the oddballs. These are those people for whom lateral thinking emerges out of their sheer ability to remain disconnected. Less method + more madness = big idea, in a nutshell. But these people have also been painted with varied brushes of disrespect. Some are tainted with that cliche of ‘s/he has an attitude’. Some are brushed aside as being ‘loony’. Others are ever so slightly venerated as ‘being different’. Yes, these people are not what you would expect to be the classic corporate types. They don’t wear their brands on their chin, more likely wear their vodkas and pot on their breaths. Yet, in their pursuit to remain grungy if one may, they display a creative intellect and a clarity of vision that belies how they look and act. It is almost as if not taking care of conforming or being a non-conformist leads them to create uncompromisingly brutal, yet beautiful advertising.

And yet, most of these people are derided. They are almost considered to be pariah. Museum pieces not to be displayed in front of suave clients, who would be put off by this ‘so called mad animal’. But, look at what they create. Pieces of work and communication, which, even if you were locked in a room for a year, would find hard to imagine, or even come close to realizing.

So agencies, revel in your mad people. Recognize them, nurture them, pander to their flights of eccentricity. Just don’t expect them to be either black or white. There is a beauty in gray, and that is the chaos that eventually creates a cosmos.

I end with a quote from Miguel de Cervantes. “Too much sanity may be madness and the maddest of all, to see life as it is and not as it should be.”

Source: https://www.linkedin.com/pulse/20141201071636-81266215-the-underestimation-of-creative-madness

The method in the madness

By | Slant Creative

The creative process consists of six working phases, inspiration, clarification, distillation, perspiration, evaluation, and incubation. During a particular piece of creative work each phase should be experienced many times, in no definite order, sometimes for a very short time.

Lets take a quick introductory look at the six ‘working’ phases. The order of the phases is not significant.

I use the term “creative” in the widest possible sense, to include the creative arts but also invention, design, problem solving, writing, entrepreneurial initiatives and so on.

The “icedip” phases. 

Inspiration. In which you generate a large number of ideas     

This is the research or idea-generation phase. The process is uninhibited and characterised by spontaneity, experimentation, intuition, and risk-taking.

Many people wonder where creative people find their good ideas. The answer is, in amongst a huge pile of bad ones. Creativity is like mining for diamonds, most of what you dig is thrown away, but that doesn’t make the digging a waste of time. If you ‘can’t think of anything’ you are having difficulty with this inspiration phase, perhaps because you are too self-critical, or expect good ideas to come too quickly.

In the field of the creative arts the inspiration phase is often associated with a search for an individual voice, and with an attempt to conjure up deep feelings of (for example) empathy, spirituality, or an intense identification with the subject matter.

This is not a phase in which to be negative or worried about form, practicality, rhyme or quality. For reasons to be examined later you should be rejecting at least 90% of your initial ideas. Let yourself off the leash ! If most of the ideas you create are workable, then you didn’t take enough risks. 

Clarification In which you focus on your goals.

Key questions are:

            ◊          what am I trying to achieve here?

            ◊          what am I trying to say?

            ◊          what exactly is the problem I am trying to solve?

            ◊          what would I like the finished work to be like?

And in more open ended work:

            ◊          how could I exploit the ideas I have had?

            ◊          where could this idea take me — what could I make of it?

The aim here is to clarify the purpose or objective of the work. It is easy to lose your sense of direction while dealing with detailed difficulties in creative work. So you need occasionally to disengage from these obstacles and ask: “what exactly am I trying to do?”.

If you ‘get stuck’ in the middle of a project, then rather than dreaming up a stream of alternatives you need to clarify where exactly you want to go. How to get there is then often straight-forward, or even blindingly obvious.

Clarification gets you out of the mire, but it is also required when say, an artist or designer agonises between two or more equally attractive approaches. Such decisions require a clear sense of purpose.

If you feel lost, stuck, bogged down, confused, or uncertain about how to proceed, then clarification is what you need. In this clarification phase you have your eye on the ball, you are being strategic and logical, focussing on how the finished work will look.

Distillation   In which you look through the ideas you have generated and try to determine which ones to work on

Here ideas from the inspiration phase are sifted through and evaluated usually in the light of the findings of a clarification phase. The best ideas are chosen for further development, or are combined into even better ideas.

This is a self-critical phase. It requires cool analysis and judgment rather than slap-happy spontaneity. However it should not be so critical as to inhibit productivity entirely. Remember, the ideas you have had are only ideas, not complete solutions — you must not expect too much of them. It is where the ideas can take you that counts, not the ideas themselves.

Perspiration   In which you work determindedly on your best ideas. 

This is where the real work is done. You are involved in determined and persistent effort towards your goal, this will usually involve further ‘inspiration‘ ‘distillation’ and ‘clarification‘ phases.

Evaluation This is a review phase in which you look back over your work in progress

In the evaluation phase you examine your work for strengths and weaknesses. Then you need to consider how the work could be improved, by removing weaknesses but also by capitalising on its strengths. Then there will probably need to be another perspiration phase to respond positively to the suggestions for improvement. Perspiration and evaluation phases often alternate to form a cycle.

Hardly anyone gets things perfect first time. Creative people adapt to improve.

Many people dislike the evaluation phase at first. However, highly creative people are nearly always inveterate revisors. They tinker with work that would make others gape in delight. Actually this evaluation phase can be very rewarding, and no work of real merit will be produced without it. If Shakespeare and Picasso found they had to revise their efforts, then I expect even you will need to!

Incubation In which you leave the work alone, though you still ponder about it occasionally , leaving it ‘on the surface of your mind’.

Many brilliant ideas have occurred in the bath, or in traffic jams. If you are able to stop work on a project for a few days, perhaps to work on other things, this will give your subconscious time to work on any problems encountered, it will also distance you somewhat from your ideas so that you are better able to evaluate them.

‘Incubation’ is particularly useful after an ‘inspiration’ or a ‘perspiration’ phase, or if a problem has been encountered. Creative people are often surprisingly patient and untidy, and are content to let half-baked ideas, loose ends and inconsistencies brew away in their sub-conscious until ‘something turns up’.

Whenever Sir Isaac Newton had a particularly thorny problem he always worked on it just before he went to sleep. He said “I invariably woke up with the solution”

Those are the six phases of the creative process. In contrast to this complex, multi-phased process ‘uncreative’ people, though they may have the skills necessary for original work, will tend to latch on to the very first idea that comes to them, and complete the work quickly and uncritically, without revision, and without serious thought about what they were trying to achieve.

The first letters of these six phases can be arranged to spell “icedip” which may help you to remember them. Remember though, that each of these “icedip” phases should be encountered many times, sometimes for very short periods, and not necessarily in any particular sequence.

You need to adopt the right phase at the right time. For example, no amount of distillation can help you if need clarification. Many creative blocks are due to the determined adoption of an inappropriate phase. So if stuck … switch phases !

When you are involved in your creative work, do you make good use of each phase and use each phase as often as you should? Techniques to help you work effectively in each of these phases will be provided in later chapters.

Mind Sets

One of the main difficulties for creative people is that the different phases require radically different, even opposite ‘mind-sets’, each of which is difficult to sustain without deliberate effort. These are outlined below:

inspiration:   In order to generate a large number of different ideas you need to be deeply engrossed, fearless and free: Spontaneous, risk-taking, joyful, ‘slap-happy’, intuitive and improvisational.  

It is very common instead to be self-conscious and fearful, and to try to use inappropriate logical thinking. There is also a common tendency to accept your first decent idea, instead of exploring more fully.

clarification: In order to clarify what you are trying to achieve you need to be: strategic, unhurried and impertinent: analytic, logical, and clear minded, and not afraid to ask difficult questions. 

Many people fail to clarify, they fail to achieve their goals because they don’t know what they are.                  

evaluation:   In order to improve earlier work you need to be critical positive and willing to learn. Self-critical (ruthlessly so sometimes), but positive about your vision of how the work could be, and your ability to do this. You must see weaknesses as opportunities to improve, and to learn.          

Instead creative people often see criticism as a threat, and so fail to improve their work, and to learn. 

distillation:   In order to choose your best ideas from the inspiration phase you need to be positive, strategic, and intrepid. Judgmental, but optimistic about where each idea might take you. Clear about where you want the ideas to take you, and daring enough to take on original ideas. You need to be realistic but ready to take on challenges.

Common mistakes are to choose ideas which are familiar and well worked out instead of those that will best achieve your intentions.

incubation:   In order to leave work for your sub-conscious to work on you need to be unhurried, trusting, and forgetful. You must expect difficulties, trust yourself to find a way round them, and not be panicked into adopting a weak solution.

Few people realise that some ideas take time to hatch, and see difficulties and indecision as a sign of failure.

perspiration:            In order to bring your ideas to fruition you need to be: uncritical, enthusiastic and responsive. You need to be positive and persistent, deeply committed and engaged, and ready to respond positively to any shortcomings.

It is common for even very creative people not to make the best of this phase. They are often uncertain and self-critical, and see weaknesses as lack of talent, instead of as a need for more work or a different approach.

The creative person needs to switch continually between these radically different, and difficult mind-sets. This requires enormous flexibility as some mind-sets are almost the exact opposite of each other. In the inspiration phase you need to be uncritical, risk taking, and subjective, but in the clarification phase you need to be critical, careful, and objective. If you use an inappropriate mind set you are in deep trouble: you will not get many original ideas if you are critical, careful and strategic, and you will not clarify your purpose effectively if you are slap happy and uncritical.

Most people find they are stronger in some phases than in others, perhaps because our personality often gives us a predominant mind-set. Some people have masses of ideas, but little idea how to work them to a successful conclusion. Others have difficulty getting the ideas on which to exercise their persistence, skills, and good judgment.

insert: cartoon style diagram of a long chain with links named inspiration, clarification, evaluation, distillation, incubation, and perspiration. etc.  

A given piece of creative work involves a long chain of the ‘icedip’ phases, each phase being revisited many times. But a chain is only as strong as its weakest link. You need to know your weakest phases, and the techniques and mind-sets which will help you make them stronger. There are some simple strategies which can hugely improve your performance, even in your strongest phases. Though these will take practice if you want to make the best of them. A better understanding of each phase along with its tools and mind-set will help avoid those blocks and frustrations which prevent you performing to the best of your ability.

But first we need to realise what creative thinking is not!

This is an extract from Geoffrey Petty (1996) “How to be Better at Creativity” Kogan Page

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