As I sit at home, writing this post (too many interruptions at the office) I realize that when clients are choosing an ad agency, many have no clue on what they are really choosing. In most cases, the overworked and under-recognized copywriters aren’t given a whole lot of thought. One of the first questions for the creative director/CEO/President/Chief Creative officer is to find out where they started in the agency business? The answers should tell you a lot about the agency- if it’s a former copywriter or art director the agency focus will probably be on great creative, if it’s an account planner- strategy may be their lead strength, if it’s a finance person- run, and if it’s a account executive/bag man/sales professional- I’m sure the presentation will be charming.
When it comes to the giants of advertising- and the guy you would want running your ad agency, David Ogilvy belongs on the top of the list. Even though the book is dated, I required all employees to read “Ogilvy on Advertising” for the first 20 years of The Next Wave. I still recommend it- but instead want them to read the excellent “Hey Whipple, Squeze this” by my friend Luke Sullivan first. Ogilvy was a brilliant writer and a consummate ad guy. He understood that you had to eat, sleep and breathe your product in order to do it justice. One of the requirements for working at Crispin Porter + Bogusky according to their employee handbook is that you are an ad person. Ad people are tuned into everything about the business- what accounts are where- and who is doing great work. If you aren’t an ad person you have a job- if you are one- you have a career.
When I stumbled upon this letter from David Ogilvy I knew things hadn’t changed much in the world of advertising. Great ads comes from people who immerse themselves in the work. It may be your most important indicator of what kind of agency you are about to hire:
On March 22nd you wrote to me asking for some notes on my work habits as a copywriter. They are appalling, as you are about to see:
I have never written an advertisement in the office. Too many interruptions. I do all my writing at home.
I spend a long time studying the precedents. I look at every advertisement which has appeared for competing products during the past 20 years.
I am helpless without research material—and the more “motivational” the better.
I write out a definition of the problem and a statement of the purpose which I wish the campaign to achieve. Then I go no further until the statement and its principles have been accepted by the client.
Before actually writing the copy, I write down ever conceivable fact and selling idea. Then I get them organized and relate them to research and the copy platform.
Then I write the headline. As a matter of fact I try to write 20 alternative headlines for every advertisement. And I never select the final headline without asking the opinion of other people in the agency. In some cases I seek the help of the research department and get them to do a split-run on a battery of headlines.
At this point I can no longer postpone the actual copy. So I go home and sit down at my desk. I find myself entirely without ideas. I get bad-tempered. If my wife comes into the room I growl at her. This has gotten worse since I gave up smoking.
I am terrified of producing a lousy advertisement. This causes me to throw away the first 20 attempts.
If all else fails, I drink half a bottle of rum and play a Handel oratorio on the gramophone. This generally produces an uncontrollable gush of copy.
The next morning I get up early and edit the gush.
Then I take the train to New York and my secretary types a draft. I cannot type, which is very inconvenient.
I am a lousy copywriter, but I am a good editor. So I go to work editing my own draft. After four or five editings, it looks good enough to show to the client. If the client changes the copy, I get angry—because I took a lot of trouble writing it, and what I wrote I wrote on purpose.
Altogether it is a slow and laborious business. I understand that some copywriters have much greater facility.
The humility of Ogilvy’s letter is quaint. I’ve met other great copywriters and they’ve run the gamut in personality traits, but generally everyone of them is fascinating and perfectly capable of doing many different things. However, I’d beware of those who are really frustrated authors- because if you are writing ads to pay the freight while working on the “great American novel” you probably aren’t really an ad person.
The other key is to write daily. The day you run out of ideas is the day you die if you are a real copywriter. Blogs make it much easier than it was in David Ogilvy’s day to test your writing chops and get feedback. Real copywriters can’t stop writing- which may explain why I’m sitting at home, writing this post on a Saturday afternoon.
Procter & Gamble is an advertising Goliath. Dollar Shave Club was an unknown 2 weeks ago. Thanks to brilliant advertising, Dollar Shave Club is going to take the fun out of being a brand manager for Gillette (owned by P&G) for the foreseeable future.
Basically, with a video that’s gone viral and a website, Dollar Shave Club has just taken the process of buying razors out of drug stores and grocery stores and moved it to a subscription service with no need for fancy packaging, expensive TV campaigns, coupons or the help of superstar celebrities.
Fast Company describes the ad:
In its parody-toned ad, the company CEO takes us on a tour of the Dollar Shave Club warehouse. He seems almost aggressively committed to the product he’s hawking–angry that people would be foolish enough to buy razors any other way than from a club. “Do you like spending $20/month on razors? 19 go to Roger Federer,” the CEO says, catching a tennis racket thrown from offscreen. “I’m good at tennis,” he promises, immediately swinging for a ball thrown his way, missing it, and moving along.
It turns out the guy in the video really is the founder and CEO of the new start-up, Michael Dubin. What’s more surprising, though, is the fact that he made the ad himself.
“The world is filled with bad commercials and people who are marketing too hard,” Dubin says. “I think what we wanted to do is not take ourselves too seriously, and deliver an irreverent smart tone.”
Dubin wrote the spot last October and shot it with his good friend and co-director, Lucia Aniello. It cost about $4,500 and the team managed to bang it out in a single day, shooting on location at the actual factory warehouse, at their fulfillment center in Gardena, California.
All the dollars on R&D at P&G aren’t going to survive the onslaught of common sense behind the basic premise of Dollar Shave Club- razor blades shouldn’t cost a small fortune. People know when they’ve been taken for a ride, but without any alternative in the Schick/Gillette duopoly, the only price war we’ve seen previously is how high can they go- and with a simple, classic counter-strike the entire market has been transformed. Granted, those without Internet access may not find their way to cheaper shaves, but, at these prices a cottage industry of resellers may just sprout up, because even the cheap disposable razors aren’t as cheap as DSC.
The only option left to the ransom kings of shaving blades is to quickly buy out DSC or his manufacturer in China and risk an anti-trust lawsuit from the feds.
But, what is even more amazing is there is no glamor shot of the product, no demonstration, no celebrity endorsement and even an obscenity aluded to in the spot- all things that wouldn’t even be considered by the soon to be dethroned kings of marketing in Cincinnati. Granted, P&G did finally learn that great advertising that’s irreverent can help move the sales needle when they hired Wieden + Kennedy who came up with “The man your man could smell like” for Old Spice that repositioned a tired brand. However, comparing the media buy of the agency created campaign to the total cost of the do-it-yourself effort of DSC should make P&G rethink everything about the way they approach marketing for everything from Tide to Swifter.
Advertising should never be about budgets as much as it is about creativity and the ability to create an emotional connection and response with the consumer. Dollar Shave Club has just changed the game in razor blade sales. What are you going to do to change the game in your industry? Hint: doing what has always been done doesn’t work so well these days.
If there is one fundamental lesson to learn from Apple and Steve Jobs, it’s that a business that’s entirely focused on producing an amazing customer experience, will in the end, win. Google understood search quality must come first, Amazon understood that free shipping is more important than advertising and Zappo’s knows you can buy the same shoes from anywhere- but that the experience matters. Netflix understood- then forgot that they were the company for people who loved movies.
Reading the Steve Jobs biography, we came across this little gem explaining the idea behind the movie “Toy Story”- and it sums up the mindset all of us must take when designing our business for our customers- what do we have to do to make them unbelievably happy? Why do we do what we do? Why do toys exist?
The idea that John Lasseter pitched was called “Toy Story.” It sprang from a belief, which he and Jobs shared, that products have an essence to them, a purpose for which they were made. If the object were to have feelings, these would be based on its desire to fulfill its essence. The purpose of a glass, for example, is to hold water; if it had feelings, it would be happy when full and sad when empty. The essence of a computer screen is to interface with a human.” The essence of a unicycle is to be ridden in a circus. As for toys, their purpose is to be played with by kids, and thus their existential fear is of being discarded or upstaged by newer toys. So a buddy movie pairing an old favorite toy with a shiny new one would have an essential drama to it, especially when the action revolved around the toys’ being separated from their kid. The original treatment began, ‘Everyone has had the traumatic childhood experience of losing a toy. Our story takes the toy’s point of view as he loses and tries to regain the single thing most important to him: to be played with by children. This is the reason for the existence of all toys. It is the emotional foundation of their existence.
Walter Isaacson, “Steve Jobs” page 285-286
What is the foundation of your businesses existence? Why do you do what you do? Do you convey your reason for being in everything you do? Do you stay relevant? When that shiny new toy comes along, will you be forgotten? If you understand why you exist in the first place, there can be no confusion in your customers mind on why they came to you originally.
What is the single most important reason your business exists?
