Showing posts with label Advertising. Show all posts
Showing posts with label Advertising. Show all posts

Wednesday, 21 March 2012

PARAPROSDOKIANS

PARAPROSDOKIANS (Winston Churchill loved them) are figures of speech in which the latter part of a sentence or phrase is surprising or unexpected; frequently humorous.

1. Where there's a will, I want to be in it.

2. The last thing I want to do is hurt you. But it's still on my list.

3. Since light travels faster than sound, some people appear bright until you hear them speak.

4. If I agreed with you, we'd both be wrong.

5. We never really grow up, we only learn how to act in public.

6. War does not determine who is right - only who is left...

7. Knowledge is knowing a tomato is a fruit. Wisdom is not putting it in a fruit salad.

8. They begin the evening news with 'Good Evening,' then proceed to tell you why it isn't.

9. To steal ideas from one person is plagiarism. To steal from many is research.

10. Buses stop in bus stations. Trains stop in train stations. On my desk is a work station.

11. I thought I wanted a career. Turns out I just wanted paychecks.

12. In filling out an application, where it says, 'In case of emergency, notify:' I put 'DOCTOR.'

13. I didn't say it was your fault, I said I was blaming you.

14. Women will never be equal to men until they can walk down the street with a bald head and a beer gut, and still think they are sexy.

15. Behind every successful man is his woman. Behind the fall of a successful man is usually another woman.

16. A clear conscience is the sign of a fuzzy memory.

17. You do not need a parachute to skydive. You only need a parachute to skydive twice.

18. Money can't buy happiness, but it sure makes misery easier to live with.

19. There's a fine line between cuddling and holding someone down so they can't get away.

20. I used to be indecisive. Now I'm not so sure.

21. You're never too old to learn something stupid.

22. To be sure of hitting the target, shoot first and call whatever you hit the target.

23. Nostalgia isn't what it used to be.

24. Change is inevitable, except from a vending machine.

25. Going to church doesn't make you a Christian any more than standing in a garage makes you a car.

26. Where there's a will, there are relatives.

Monday, 19 March 2012

Remarkable piece of Writing!

A letter that copywriter Robert Pirosh wrote on wanting to become a Hollywood screenwriter.

Dear Sir:

I like words. I like fat buttery words, such as ooze, turpitude, glutinous, toady. I like solemn, angular, creaky words, such as straitlaced, cantankerous, pecunious, valedictory. I like spurious, black-is-white words, such as mortician, liquidate, tonsorial, demi-monde. I like suave "V" words, such as Svengali,svelte, bravura, verve. I like crunchy, brittle, crackly words, such as splinter, grapple, jostle, crusty. I like sullen, crabbed, scowling words, such as skulk, glower, scabby, churl. I like Oh-Heavens, my-gracious, land's-sake words, such as tricksy, tucker, genteel, horrid. I like elegant, flowery words, such as estivate, peregrinate, elysium, halcyon. I like wormy, squirmy, mealy words, such as crawl, blubber, squeal, drip. I like sniggly, chuckling words, such as cowlick, gurgle, bubble and burp.

I like the word screenwriter better than copywriter, so I decided to quit my job in a New York advertising agency and try my luck in Hollywood, but before taking the plunge I went toEurope for a year of study, contemplation and horsing around.

I have just returned and I still like words.

May I have a few with you?

Sunday, 15 January 2012

Great Words of Wisdom from Andy Rodney

If you will take the time to read these. I promise you'll come away with an enlightened perspective. The subjects covered affect us all on a daily basis:

They're written by Andy Rooney, a man who had the gift of saying so much with so few words. Enjoy...

I've learned.... That the best classroom in the world is at the feet of an elderly person.

I've learned.... That when you're in love, it shows.

I've learned.... That just one person saying to me, "You've made my day!" makes my day.

I've learned.... That having a child fall asleep in your arms is one of the most peaceful feelings in the world.

I've learned.... That being kind is more important than being right.

I've learned.... That you should never say no to a gift from a child.

I've learned.... That I can always pray for someone when I don't have the strength to help him in some other way.

I've learned.... That no matter how serious your life requires you to be, everyone needs a friend to act goofy with.

I've learned.... That sometimes all a person needs is a hand to hold and a heart to understand.

I've learned.... That simple walks with my father around the block on summer nights when I was a child did wonders for me as an adult.

I've learned.... That life is like a roll of toilet paper. The closer it gets to the end, the faster it goes.

I've learned.... That we should be glad God doesn't give us everything we ask for.

I've learned.... That money doesn't buy class.

I've learned.... That it's those small daily happenings that make life so spectacular.

I've learned.... That under everyone's hard shell is someone who wants to be appreciated and loved.

I've learned.... That to ignore the facts does not change the facts.

I 've learned....That when you plan to get even with someone, you are only letting that person continue to hurt you.

I've learned.... That love, not time, heals all wounds.

I've learned.... That the easiest way for me to grow as a person is to surround myself with people smarter than I am.

I've learned.... That everyone you meet deserves to be greeted with a smile.

I've learned.... That no one is perfect until you fall in love with them.

I've learned.... That life is tough, but I'm tougher.

I've learned.... That opportunities are never lost; someone will take the ones you miss. I've learned.... That when you harbor bitterness, happiness will dock elsewhere.

I've learned.... That I wish I could have told my Mom that I love her one more time before she passed away.

I've learned.... That one should keep his words both soft and tender, because tomorrow he may have to eat them.

I've learned.... That a smile is an inexpensive way to improve your looks.

I've learned.... That when your newly born grandchild holds your little finger in his little fist, that you're hooked for life.

I've learned.... That everyone wants to live on top of the mountain, but all the happiness and growth occurs while you're climbing it.

I've learned.... That the less time I have to work with, the more things I get done.

Tuesday, 12 October 2010

Different From vs. Different Than

The expressions different from and different than have been used almost interchangeably for at least 300 years.

Different from is preferred to introduce a phrase; however, different than may also be used.

Example: New Orleans natives’ speech is different from that of New York natives’ speech. Example: New Orleans natives’ speech is different than that of New York natives’ speech.

Different than is preferred to introduce a clause; however, different from may be used if more words are added.

Example: The boulevard led to a different street than the map showed.
Example: The boulevard led to a different street from the one the map showed.

Differently is used as an adverb. Use differently than with a clause following. You may use differently from if you add extra wording.

Example: He walked differently than he had hoped after getting the leg cast off.
Example: He walked differently from what he had hoped after getting the leg cast off.

When to Capitalize People's Titles

When should you capitalize someone's title? I get this question quite often so here are some guidelines:

Rule: Capitalize a person's title when it follows the name on the address or signature line.

Examples: Sincerely, Margaret Haines, Chairperson
Margaret Haines, Chairperson
1234 South Wallace St.
Portland, OR 97232

Rule: Capitalize the titles of high-ranking government officials when used with or before their names.

Do not capitalize the civil title if it is used instead of the name.

Examples: The president will address Congress.
All senators are expected to attend.
The governors, lieutenant governors, and attorneys general called for a special task force.
Governor Connelly, Lieutenant Governor Martinez, and Senators James and Hennessy will attend the meeting.

Rule: Capitalize a title when used as a direct address even when the person is not named.

Examples: Will you be holding a press conference, Madame President?
Please give us your opinion of this latest development, Senator.
We need your response quickly, Mr. President.
We need your response quickly, President Obama.
Will you help me with my homework, Dad?

Sunday, 4 July 2010

In New York, even fish-gutters embrace the can-do spirit

In New York, even fish-gutters embrace the can-do spirit
By Melissa Whitworth
Published: 7:15AM BST 02 Jul 2010



One of my favourite New York stories is about a first-generation Chinese immigrant who spent his career gutting fish at the South Street Seaport. For 40 years, he never closed his doors or took a holiday. Then, one summer day, there was a paper sign on the front of his store that read: "Closed for son's graduation today (Harvard)."

For me, that sums up what's so great about New York: the idea that anything is possible, and it doesn't matter where you come from or what you do to get there. It's in stark contrast to the attitude in England. Growing up in Surrey, I remember someone being teased at school because his family had made their fortune by selling plastic shopping bags. At university, the first question at dinner parties was always: "What does your father do?" And at a pub in Wimbledon last year, I was terribly American in singing the praises of a friend studying for a PhD in genetics, when his best buddy sneeringly interrupted: "Don't get too excited – he hasn't made it yet."

Perhaps that's why so many bright young Britons flee to the Big Apple. Last week I bumped into Ben Towill and Phil Winser, who have started an events company called Silkstone. They began by making sandwiches in a dark basement kitchen they shared with another caterer, and are now organising insanely glamorous parties and luncheons for people like Lenny Kravitz and Liv Tyler; they employ 10 people and are about to open their own restaurant on the Lower East Side, The Fat Radish.
They don't think they would have been as successful in the UK because, they say, there is something about New York that makes it the most exciting place in the world to grow a young business. As Google boss Eric Schmidt told The Daily Telegraph this week, America is a place for "crazy smart people", who "do not fit a standard European education model". Winser puts it more simply: in New York, you enter a room and everyone assumes you're the most interesting person on the planet, until you prove otherwise. In London, it's just the reverse.

...

Anna Chapman, the alleged Russian spy, certainly knew that New York was the place to be when she made it her temporary home. As she said in a video posted online this week: "America is a free country. Here is the easiest place in the world to meet successful people … Here you can go to dinner at your neighbour's house and meet the most important venture capital investor that same evening." Her success in gaining access to the best parties is shown by the fact that pictures of her are still up on society photographer Patrick McMullan's website, which upwardly mobile New York types check obsessively to see how many times they've been snapped by him (my total is a paltry 22). Of course, it helps if – like Chapman – you're wearing a dress that leaves little to the imagination.

...

After the travesty that was Sex and the City 2 (which led some of my girlfriends to declare that Sarah Jessica Parker was dead to them), the New York Times columnist Maureen Dowd has done an infinitely better job of explaining life as a female tourist in an Arab state.

Visiting Saudi Arabia for the latest Vanity Fair, she has a black linen abaya specially made. Her Saudi guides think it's not conservative enough, and ask her to put another over it. The country, she says is "the hardest place on earth for a woman to negotiate", needing minders or permission slips to travel on their own.

Dowd asks Prince Sultan bin Salman, the tourism minister, about the dress code. "Well, the abaya is part of the uniform," he said. "It's part of enjoying the culture." Other cultural treats – such as the lunchtime beheadings in "Chop Chop Square" – are apparently reserved for men only.

Thursday, 27 May 2010

KLM Advertisement

Tuesday, 23 March 2010

Broadcast Journalism

Broadcast journalism is the field of news and journals which are "broadcast", that is, published by electrical methods, instead of the older methods, such as printed newspapers and posters. Broadcast methods include radio (via air, cable, and Internet), television (via air, cable, and Internet), and, especially recently, the Internet generally. Such media disperse pictures (static and moving), visual text, and/or sounds.

Scripts for speaking to be broadcast tend to be written differently than text to be read by the public. For instance, the former is generally less complex and more conversational. Radio and television are designed to be seen and heard sooner and more often than is a daily or weekly newspaper.

Broadcast "stories" (articles) can be written in "packages", "readers", "voice overs", and "sound on tape".

A "package" is an edited set of video clips for a news story and is common on television. It is narrated typically by a reporter. It is a story with audio, video, graphics and video effects. The anchor usually reads a "lead in" (introduction) before the package is aired and may conclude the story with additional information, called a tag.

A "reader" is an article read without accompanying video or sound. Sometimes an "over the shoulder graphic" is added.

A voice over, or VO, is a video article narrated by the anchor.

Sound on tape, or SOT, is sound and/or video, usually recorded in the field. It is usually an interview or "soundbite".

[edit] Radio
Radio was the first medium for broadcast journalism. Many of the first radio stations were co-operative community ventures not making a profit. Later, advertising to pay for programs was pioneered in radio. Later, television displaced radio and newspapers as the main news sources for most of the public in industrialized countries.

Some of the programming on radio is locally produced; some is broadcast by a network, by syndication, etc. The "talent" (professional voices) talk to the audience, including reading the news. People tune in to hear engaging personalities, music, and information that they want. In radio news, stories include speech "sound bites", the recorded sounds of events themselves, and the anchor or host.

The radio industry has undergone a radical consolidation of ownership, with fewer companies owning the thousands of stations. Large media conglomerates such as Clear Channel Communications own most of the stations in the United States. That has resulted in more "niche" formats and the sharing of resources within clusters of stations, de-emphasizing local news and information. There has been concern over whether that concentration of power serves the public. The opposition says that the range of political views expressed and supported is greatly narrowed and that local concerns are neglected, including local emergencies, for which communication is critical. Automation has resulted in many stations broadcasting for many hours a day with no one on the station premises.

[edit] Television
Television (TV) news is considered by many to be the most influential medium for journalism. For most of the American public, local and national TV newscasts are the primary news sources. Not only the numbers of viewers, but the effect on each viewer is considered more persuasive, as described by Marshall McLuhan ("the medium is the message" in his book Understanding Media). Television is dominated by attractive visuals (including beauty, action, and shock), with short sound bites and fast "cuts" (changes of camera view). Television journalism viewership has become fragmented, with all-news cable channels such as CNN starting in 1980 and Fox News Channel and MSNBC in the 1990s.

[edit] Local Television
The industry divides television into local markets. Such markets are defined by viewing area and are ranked by the number of viewers. New broadcast journalists generally start in the smaller markets (fewer viewers) and move up to larger stations after gaining experience. The larger stations usually have more resources and better pay.

United States stations typically broadcast local news 3 or 4 times a day: around 4:30, 5 or 6 am, 11, 11:30 am or noon, 5 and/or 6 pm, and 10 and/or 11 at night. Most of their nightly local newscasts are 30 minutes and include sports and weather. Anchors are shown sitting at a desk in a studio. They read teleprompters. Reporters frequently tell their stories in live shots outside the studio where the news is occurring. Morning shows include more "soft" news and feature pieces, while the evening news emphasizes "hard" news.

[edit] News jobs
Anchors (formerly "anchormen"), serve as masters of ceremonies and are usually shown facing the camera in a studio while reading unseen teleprompters. They are often in pairs (co-anchors) side by side, often alternating their reading. Meteorologists describe and forecast weather and show "graphics" (maps, charts, and pictures). Any of those people can become the most recognizable faces of a station. Reporters research and write the stories and sometimes edit them into a package. Reporters are usually accompanied by a videographer at the scenes of the news. The latter holds the camera. That person or assistants manage the audio and lighting. They are in charge of setting up live shots and might edit, too. The producer might choose, research, and write stories, as well as deciding the timing and arrangement of the newscast. An associate producer, if any, might specialize in elements of the show such as graphics.

[edit] Production jobs
A newscast director is in charge of show preparation, including assigning camera and talent (cast) positions on the set, as well as selecting the camera shots and other elements (recorded and live). The technical director operates the video switcher which controls and mixes all the elements of the show. At smaller stations, the director and technical director are the same person. A graphics person operates a character generator that produces the name keys (on-screen titles) and full-page graphics. The audio technician operates the audio board. The technician is in charge of the microphones, music, and audio tape. Often, production assistants operate the teleprompters and cameras, and serve as lighting and rigging technicians ("grips").

[edit] On-line convergence
Convergence is the sharing and cross-promoting of content from a variety of media, which in theory might all converge and become one medium eventually. In broadcast news, the Internet is key part of convergence. Frequently, broadcast journalists also write text stories for the Web, usually accompanied by the graphics and sound of the original story. Web sites offer the audience an interactive form where they can learn more about a story, can be referred to related articles, can offer comments for publication, and can print stories at home, etc. Convergence also lets newsrooms collaborate with other media. Broadcast outlets sometimes have partnerships with their print counterparts.

[edit] References
DeFleur, Melvin (2002). Understanding Mass Communication. New York: Houghton Mifflin Company. ISBN 0-618-12857-3.
Associated Press (2001). Broadcast News Handbook: A Manual of Techniques and Practices. New York: McGraw-Hill. ISBN 0-7136-3882.
Brooks, Brian (2004). Telling the Story: The Convergence of Print, Broadcast and Online Media. Boston: Bedford, St. Martin's Press. ISBN 0-312-40906-0.
McLuhan, Marshall (1964). Understanding Media: The Extensions of Man. Cambridge, Massachusetts: The MIT Press (also New York: McGraw-Hill, 1964; Critical edition, Gingko Press, 2003). ISBN 0-26263159-8, ISBN 978-0-26263159-4.
Portal to Nielsen Media DMA ranks 2007-2008
Atmospheric Science Data Center - Meteorologist
Retrieved from "http://en.wikipedia.org/wiki/Broadcast_journalism"

Saturday, 6 March 2010

11 Common Grammar mistakes

11 Common Grammar mistakes

Professional writers often worry that their work is unnecessary. After all, can’t anyone with even a basic education write? The answer: no, they can’t. Even college graduates don’t seem to be learning composition basics.
Of course not everyone is going to be the next Mark Twain, but career success does depend on avoiding certain errors. It takes just one person to see just one mistake for you to be discounted.
Avoid these 11 mistakes, write better, and get the job!

Constipated Clauses
Reporting on the feats and foibles of the Red Sox, a writer for South Coast Today notes: “It goes without saying that these exploits take a tremendous amount of skill.”
If it “goes without saying” then don’t say it. If it doesn’t, in fact, go without saying, then don’t say it does.
“Obviously, the sky is blue.” Putting the “obviously” doesn’t suddenly make the statement insightful.

Comma Vomit
True or false: a comma must precede any use of the word “and”? FALSE. Commas should only precede and, but, for, or, nor, so, or yet when they introduce an independent clause. For example, “We laid out our music and snacks, and began to study.” Placing a comma after “snacks” is incorrect. The subject of the sentence has not changed, “we” still “began to study.”
An example of correct comma use: “The game was over, and the crowd began to leave.” The game and the crowd are different subjects and the clauses are independent. The crowd could still be leaving regardless of what is happening with the game.
A comma can also precede “and” when it is used in a list of three or more items. However, in a list it is entirely optional and called an “oxford comma”.
While that is probably the most common overuse, others are prevalent. Just because you think you would pause at a certain point when speaking, it does not mean you need a comma. For a complete guide to using and misusing commas, check out this guide!
Comma Use1. Use commas to separate independent clauses when they are joined by any of these seven coordinating conjunctions: and, but, for, or, nor, so, yet.
The game was over, but the crowd refused to leave.
The student explained her question, yet the instructor still didn't seem to understand.
Yesterday was her brother's birthday, so she took him out to dinner.
2. Use commas after introductory a) clauses, b) phrases, or c) words that come before the main clause.
a. Common starter words for introductory clauses that should be followed by a comma include after, although, as, because, if, since, when, while.
While I was eating, the cat scratched at the door.
Because her alarm clock was broken, she was late for class.
If you are ill, you ought to see a doctor.
When the snow stops falling, we'll shovel the driveway.
However, don't put a comma after the main clause when a dependent (subordinate) clause follows it (except for cases of extreme contrast).
Incorrect: She was late for class, because her alarm clock was broken.
Incorrect: The cat scratched at the door, while I was eating.
Correct: She was still quite upset, although she had won the Oscar. (This comma use is correct because it is an example of extreme contrast)
b. Common introductory phrases that should be followed by a comma include participial and infinitive phrases, absolute phrases, nonessential appositive phrases, and long prepositional phrases (over four words).
Having finished the test, he left the room.
To get a seat, you'd better come early.
After the test but before lunch, I went jogging.
The sun radiating intense heat, we sought shelter in the cafe.
c. Common introductory words that should be followed by a comma include yes, however, well.
Well, perhaps he meant no harm.
Yes, the package should arrive tomorrow morning.
However, you may not be satisfied with the results.
3. Use a pair of commas in the middle of a sentence to set off clauses, phrases, and words that are not essential to the meaning of the sentence. Use one comma before to indicate the beginning of the pause and one at the end to indicate the end of the pause.
Here are some clues to help you decide whether the sentence element is essential:
• If you leave out the clause, phrase, or word, does the sentence still make sense?
• Does the clause, phrase, or word interrupt the flow of words in the original sentence?
• If you move the element to a different position in the sentence, does the sentence still make sense?
If you answer "yes" to one or more of these questions, then the element in question is nonessential and should be set off with commas. Here are some example sentences with nonessential elements:
Clause: That Tuesday, which happens to be my birthday, is the only day when I am available to meet.
Phrase: This restaurant has an exciting atmosphere. The food, on the other hand, is rather bland.
Word: I appreciate your hard work. In this case, however, you seem to have over-exerted yourself.
4. Do not use commas to set off essential elements of the sentence, such as clauses beginning with that (relative clauses). That clauses after nouns are always essential. That clauses following a verb expressing mental action are always essential.
That clauses after nouns:
The book that I borrowed from you is excellent.
The apples that fell out of the basket are bruised.
That clauses following a verb expressing mental action:
She believes that she will be able to earn an A.
He is dreaming that he can fly.
I contend that it was wrong to mislead her.
They wished that warm weather would finally arrive.
Examples of other essential elements (no commas):
Students who cheat only harm themselves.
The baby wearing a yellow jumpsuit is my niece.
The candidate who had the least money lost the election.
Examples of nonessential elements (set off by commas):
Fred, who often cheats, is just harming himself.
My niece, wearing a yellow jumpsuit, is playing in the living room.
The Green party candidate, who had the least money, lost the election.
Apples, which are my favorite fruit, are the main ingredient in this recipe.
Professor Benson, grinning from ear to ear, announced that the exam would be tomorrow.
Tom, the captain of the team, was injured in the game.
It is up to you, Jane, to finish.
She was, however, too tired to make the trip.
Two hundred dollars, I think, is sufficient.
5. Use commas to separate three or more words, phrases, or clauses written in a series.
The Constitution establishes the legislative, executive, and judicial branches of government.
The candidate promised to lower taxes, protect the environment, reduce crime, and end unemployment.
The prosecutor argued that the defendant, who was at the scene of the crime, who had a strong revenge motive, and who had access to the murder weapon, was guilty of homicide.
6. Use commas to separate two or more coordinate adjectives that describe the same noun. Be sure never to add an extra comma between the final adjective and the noun itself or to use commas with non-coordinate adjectives.
Coordinate adjectives are adjectives with equal ("co"-ordinate) status in describing the noun; neither adjective is subordinate to the other. You can decide if two adjectives in a row are coordinate by asking the following questions:
• Does the sentence make sense if the adjectives are written in reverse order?
• Does the sentence make sense if the adjectives are written with and between them?
If you answer yes to these questions, then the adjectives are coordinate and should be separated by a comma. Here are some examples of coordinate and non-coordinate adjectives:
He was a difficult, stubborn child. (coordinate)
They lived in a white frame house. (non-coordinate)
She often wore a gray wool shawl. (non-coordinate)
Your cousin has an easy, happy smile. (coordinate)
The 1) relentless, 2) powerful 3) summer sun beat down on them. (1-2 are coordinate; 2-3 are non-coordinate.)
The 1) relentless, 2) powerful, 3) oppressive sun beat down on them. (Both 1-2 and 2-3 are coordinate.)
7. Use a comma near the end of a sentence to separate contrasted coordinate elements or to indicate a distinct pause or shift.
He was merely ignorant, not stupid.
The chimpanzee seemed reflective, almost human.
You're one of the senator's close friends, aren't you?
The speaker seemed innocent, even gullible.
8. Use commas to set off phrases at the end of the sentence that refer back to the beginning or middle of the sentence. Such phrases are free modifiers that can be placed anywhere in the sentence without causing confusion. (If the placement of the modifier causes confusion, then it is not "free" and must remain "bound" to the word it modifies.)
Nancy waved enthusiastically at the docking ship, laughing joyously. (correct)
Incorrect:Lisa waved at Nancy, laughing joyously. (Who is laughing, Lisa or Nancy?)
Laughing joyously, Lisa waved at Nancy. (correct)
Lisa waved at Nancy, who was laughing joyously. (correct)
9. Use commas to set off all geographical names, items in dates (except the month and day), addresses (except the street number and name), and titles in names.
Birmingham,Alabama, gets its name from Birmingham, England.
July 22, 1959, was a momentous day in his life. Who lives at 1600 Pennsylvania Avenue, Washington, DC?
Rachel B. Lake, MD, will be the principal speaker.
(When you use just the month and the year, no comma is necessary after the month or year: "The average temperatures for July 1998 are the highest on record for that month.")
10. Use a comma to shift between the main discourse and a quotation.
John said without emotion, "I'll see you tomorrow."
"I was able," she answered, "to complete the assignment."
In 1848, Marx wrote, "Workers of the world, unite!"
11. Use commas wherever necessary to prevent possible confusion or misreading.
To George,Harrison had been a sort of idol.
Comma Abuse
Commas in the wrong places can break a sentence into illogical segments or confuse readers with unnecessary and unexpected pauses.
12. Don't use a comma to separate the subject from the verb.
Incorrect:An eighteen-year old in California, is now considered an adult.
Incorrect:The most important attribute of a ball player, is quick reflex actions.
13. Don't put a comma between the two verbs or verb phrases in a compound predicate.
Incorrect:We laid out our music and snacks, and began to study.
Incorrect:I turned the corner, and ran smack into a patrol car.
14. Don't put a comma between the two nouns, noun phrases, or noun clauses in a compound subject or compound object.
Incorrect (compound subject):The music teacher from your high school, and the football coach from mine are married.
Incorrect (compound object):Jeff told me that the job was still available, and that the manager wanted to interview me.
15. Don't put a comma after the main clause when a dependent (subordinate) clause follows it (except for cases of extreme contrast).
Incorrect (extreme contrast):She was late for class, because her alarm clock was broken. (incorrect)
Incorrect:The cat scratched at the door, while I was eating.
Correct:She was still quite upset, although she had won the Oscar.(This comma use is correct because it is an example of extreme contrast)

The Death of Adverbs
Once upon a time, the English language had a way to modify both nouns and verbs. Adjectives did the trick on the former and adverbs on the latter. You didn’t just have to walk, you could walk quickly!
Adverbs modify verbs. For example, you accomplish a task with ease. What do you say?
WRONG: I can do that easy!
RIGHT: I can do that easily!
You accomplish a task with more ease than your colleagues. What do you say?
WRONG: I can do that easier than they can.
RIGHT: I can do that more easily than they can.

Less vs. Fewer
A professional’s skills are not on par with yours. How would you describe that: “He has less skill than I” or “He has fewer skills than I do”? You could use both! Less describes something that is not finite, like a trait. In the first case, “skill” does not refer to any particular skill, it denotes skill like “talent” or “intelligence.”
Fewer describes finite, listable items. In the second case, you have a larger skill set than the other professional. You could list those skills that you have and the ones he doesn’t.
Too often, people over- and mis-use “less.” They’ll say something like, “He has less skills than I do.” Say that and you’ve shown you have less intelligence and fewer brains than your competitors.

Etc. Etc. Etc. Etc. Etc. Etc.
Et cetera: a useful Latin-derived tool for shortening lists. However, unless you are a lawyer, using it (and especially overusing it) can make you sound unprofessional.
If you must, use it once. A second or third occurrence in the same document essentially says, “I really don’t know what I’m talking about, so I’ll just jam etc. on the end and try to pretend I do!”
Another et cetera mistake is using it when you should use “et al.” Listing a set of objects? Use etc. Listing a group of people? Use et al. It also is derived from Latin and means “and others.”

Prevarication Junction
“I think that I would be an ideal candidate for this position.”
“I think that my product would do wonders for your company.”
“Studies show that people like this product more.”
Draw a line through each of those sentences. As a teacher told me in high school once, “Don’t tell me what you think. Tell me what you know.” Similarly, don’t talk about studies. If you think a study is reliable—and you probably do if you rely on its results—just say what those reliable results were. If someone asks, you can always point them to the study in question.
These phrases ultimately end up making your writing much longer than it needs to be. What’s worse, they make you appear afraid: not assertive enough to express your own opinion and unsure of what you are writing about.
If you really don’t know what you’re talking about…don’t talk about it

The Affect-Effect Divide
His affect had an effect on me and affected me so much that I had to effect a change in my work environment.
WRONG USAGE: “Our products will positively effect your business;” or “My skills will substantially effect your company.”
Affect and effect can both be nouns and verbs.
Rule of thumb for the most common uses: use affect as a verb and effect as a noun.
An affect (noun) is an artificial air that someone puts on. Do you pretend to have a British accent? That’s an affect.
To affect something (verb) is to change it.
An effect (noun) is the result of someone or something affecting something.
To effect (verb) means to accomplish or make something happen.

Then≠Than
When one event follows another, we use thEn. For instance, “The clouds appeared, then it rained.”
When two things are being compared, we use thAn. “Grandma is shorter than Grandpa.”
Although most people learned this in elementary school, they seem to forget more thAn anyone would like. Just this month a news site in Santa Clara, California published a review of “WALL-E”. The critic said, “The film was shorter then I would’ve liked.”

None is.
It’s an easy trap in which to fall.
“While I am certain there were many applicants for this job, none of them are as experienced as me.” WRONG!
We hope you wouldn’t actually write a sentence like that even without the grammatical error, but making none plural makes it even worse. None is singular. None is always singular.
While the “them” toward the end may make you think, “A ha! Multiples!”, the subject is still none, which (did we mention?) is singular. “None of them is” may sound a little off to some, but it is correct English.

i.e. is not e.g. is not i.e.
Some people seem to think that throwing an “i.e.” into a paragraph makes them look smarter. Unfortunately, most of those people are using i.e. to mean “for example.”
WRONG: “I have sold many products, i.e. washing machines.” This doesn’t make any sense.
i.e. is an abbreviation of the Latin words id est, literally translated as “that is.” In English, i.e. is used synonymously with “namely.” It specifies and limits.
e.g. is also a Latin abbreviation but of the words exempli gratia, meaning “for example.” E.g. implies, “This is one of several possible options.”

Could of
When speaking, certain contractions can sound like other words. “Could’ve” rolls off the tongue like “could of.” You have to be careful that does not slip into your writing.
In the past tense, could, would and should must never be followed by “of.” If you use contractions in your writing, the words are “could’ve, would’ve, should’ve.” If you don’t, they are “could have, would have, should have.”
It’s an easy mistake to make. Scan any document or business e-mail you write and make sure it’s correct.

Thursday, 18 February 2010

Monday, 14 September 2009

Copywriting : an Introduction - Some Tips

WRITE THE AD, I PRAY YOU

Trippingly On The Tongue

In advertising copy, it's amazing what works and what doesn't work.

If you're an accountant or a lawyer or a consultant with a marketing program, you don't have to know how to write an ad, but you should know some things about how to judge one written for you. You should know also that what you think works, may not.

While a great deal is known about what works in ad copy, there’s even more we don’t know. What makes it difficult for the uninitiated is that what you may judge to be great copy because of the sheer poetry, imagery, sound, and lyricism, may be lousy for accomplishing the mission of the ad.

Nor are copy rules decisive. When the advertising legend, David Ogilvy, was told that copy should be short and terse, because nobody reads more than a few words of an ad, he wrote the classic, "At 60 miles and hour the only sound you hear is the clock." It was a full page of text, describing the features of the Rolls Royce. It sold a lot of cars.

But in an imitative world, a great many ad people imitated not the selling aspects of the ad, but its length. We were then treated to a bunch of long text ads, most of which sold nothing. Some ad people simply didn't get it.

Perhaps the hardest thing for people who are not marketers to understand is that the process is a function of not only training, but skill, intelligence and imagination -- all of which are what we usually mean when we use the peculiar word "creative." There are rules, and there are ways to break the rules. But like the best abstract artists, who know better how to abstract because they are fine realistic artists, it's likely that those who know the rules best are those who break the rules best

The Limits Of Copywriting

The limits of copywriting are essentially those of the medium. You can't write 10 minutes of copy for a 30-second radio spot. The mechanics of writing for one medium are too infrequently translatable into another medium. You can't put 50 words of copy on a billboard alongside a high speed highway and expect the message to be read.

And yet there are times when originality, imagination, and skill dictate that all rules be violated. Fifty or 100 words on that billboard may be just the ticket if the headline is something like, "There are not enough words to describe ... " and you don’t really expect people to read the text.

The Objectives of the Ad

Writing advertising copy begins, as you might expect, with defining objectives -- of the campaign, of the marketing program, of the specific ad. These objectives will be unique to you and your firm, to each campaign, and to each ad. They dictate that the copy -- as well as all other elements of the ad -- are focused and relevant.

Elements Of A Good Ad

An ad that includes at least the following elements might be expected to be good …

Attention. In the clamor and clutter of sight and sound, and the competition for the reader's eye, ear, and heart, it's imperative that you compete successfully for attention. There should be some element in the ad -- whether it's the headline or the illustration or the layout -- that attracts the eye or ear and arouses sufficient interest to warrant attention to the message. And the copy itself must sustain that attention.
Promise of Benefit. Something in the ad should promise the reader or the listener some benefit that will accrue from accepting the ad's premises.
Credibility. The premises of the ad must be believable. (On the other hand, do you really believe that Exxon put a tiger in your tank? But it sold a lot of gas.)
Persuasiveness. The ad should be persuasive. It should sell or generate the need for the service you offer, and project your service as superior. (On the other hand, what do those Nike shoe ads say that persuade you? But they sell a lot of athletic shoes.)
Interest. Once you've captured the reader's attention you've got to say or show something to sustain interest, or the message will not be heard.
Desire. The ad must generate a desire to accept what you have to say about what you have to offer; to want to do business with you.
Action. The ultimate aim of an ad is to generate action on the part of the reader or listener; to cause the reader to want to do something that you want him or her to do, such as buy your service, or, in the case of professional services marketing, it might be to either generate an inquiry or accept a selling situation. On the other hand, just getting a reader to think about you in a specific way is an action, too. That’s what institutional advertising is about.
The Foundation For Copy

Ads seem to work best when you...

Know your prospect. Not only who your prospect is, but what kind of service your prospective clientele really wants, and what kind of problems they'll depend upon your service to resolve.
Know your service. Know your service in terms of what the prospective client is willing to buy, not what you're offering to sell.
Copy Structure

The purpose of a headline is to attract attention and to bring the reader to the ad. A headline that offers nothing to the reader in terms of either benefit or interest may effectively mask the cleverest ad, and one that's offering the most useful service.

The text should spring from the headline, and follow through the promise it offers. It should explain and clarify the facts and claims. It should be a logical progression of ideas, covering all of the points you mean to cover, even if it's done only with an illustration.

Copy can appeal to the intellect and reason, or it can appeal to the emotions, or it can do both.

The text of an ad designed to cause action should lead naturally to a call for action. What precisely do you want your reader to do? Call now? File for future reference? Send in a coupon? Send for a brochure? Remember something? Experienced copywriters know that the call for action works. It's not so much that when readers are told to do something they do it. It's that when they're not told to do something they're less likely to do it.

The copy usually ends with a logo and a signature for identification and impression, and sometimes also a slogan.

The Copy Platform

The professional copywriter usually develops a concept, sometimes called the copy platform, which is a clear statement of the copy objectives, focus, and approach. This is an attempt to articulate, as clearly and as simply as possible, what the copy shall say and how it shall say it. Shall it be extensive or brief? What tone shall it take? Shall it be breezy and light, or formal? What message shall it try to convey? What is the rationale behind the approach?

The purpose of this copy platform, whether it's specifically articulated on paper or merely understood in the copywriter's mind, is to serve as a guide to actually writing the copy. Many copywriters use it to present to their clients for a clear understanding of how the ad will come out.

Writing The Copy

The artistry of advertising lies in the ability to manipulate symbols and ideas in order to inform and persuade people. As in any art form, there are no rules that can guide you in doing this, except to list those factors that seem to work most consistently. And yet, remember, some of the most successful ads are those that violate the rules.

Two universally accepted axioms are that an ad must be simple, and it must look and sound as if it's worth paying attention to. And obviously, it must be complete -- it must contain all the information you want to convey. These axioms -- if indeed they are axioms -- spring from the fact that few ads are successful when these rules are ignored. Beyond that, clarity is essential. No matter how an ad is written it must be understood and easy to read.

It should be grammatical -- despite the fact that there are many examples of successful advertising that are clearly ungrammatical. A breach of grammatical rules, however, should be deliberate, and designed to serve a specific purpose. The rules of grammar are not arbitrary, nor are they engraved in stone. But the purpose of the rules of grammar is consistency, understanding and clarity. Unless there is a conscious reason to do otherwise, copy should be grammatically sound.

There are some other guidelines that professional copywriters also find useful ...

Talk to the reader, the listener, or the viewer. Don't announce, don't preach. And don't get carried away by words and lose sight of the message.
Write short sentences, with easy and familiar words. You want the reader or listener to do the least possible work to get your message. Even when you're talking to very bright people, communication is of the essence, not language manipulation.
Don't waste words. Whether you use three or a thousand words make sure each is exactly the one you need. Make sure each word is exactly the right one to convey your meaning.
Try to avoid being formal. You're talking to people as people. You're not writing an insurance contract for lawyers. An ad is information and persuasion.
Use the present tense and the active voice ("All professional copywriters have extensive experience in preparing material," rather than " ... extensive experience in the preparation of material."). If you do want a formal style it should be deliberate, and you should have a clear idea of why you are using it.
Punctuate correctly. Punctuate to help the reader, and not merely to follow specific rules. The less punctuation the better, within the bounds of clarity, but don't be afraid to use it if it helps the flow of an idea. Don't be afraid to use contractions and personal pronouns, just as you would in chatting informally with a prospect. After all, that's what you're trying to accomplish in your ad.
Watch out for cliches. They turn some people off. More significantly, people don't hear them as they pass mindlessly off the tongue without bothering to visit the mind, and the point you're trying to make is lost. (Again, unless you're doing it deliberately.) Try to use bright, cheerful language that keeps the reader alert and maintains attention. To be enthusiastic and exciting is to be well along on the way to being interesting.
Writing is not the manipulation of words -- it's the expression of ideas. Words, grammar and punctuation, are merely the tools and devices we use to express ideas most clearly. To think of copy as a configuration of words is the same as thinking of a symphony as a configuration of notes.

Why do ads that seem well written sometimes not work? Because they miss these points of advertising. Because they attempt to merely translate somebody's idea of persuasive talk into the ad medium, which can sometimes be like wearing a tuxedo to the gym.

And because somebody didn't recognize that the art of advertising copywriting is not the art of literary writing. Different medium, different art form

Tuesday, 8 September 2009

Some Very Good Ads and Commercials - Part 1

Some scintillating / thought-provoking ads!

Harley Davidson Bikes


Eurostar Airlines


Energiser


Cobra Alarms


Big M chocolates


Axe Deo


Anti Smoking

On Getting Creative Ideas

On Getting Creative Ideas
Google Tech Talks
March 14, 2007

Click on this link:
http://www.youtube.com/watch?v=e7M2l-jzRG8&feature=email

ABSTRACT

Murray Gell-Mann is one of the largest living legends in physics. He's also been described as The Man With Five Brains, and it's no puzzle why: He was admitted to Yale at 15, got his PhD from MIT at 21, and is an international advisor on the environment. He speaks 13 languages fluently (at last count), and has expertise in such far-ranging fields as natural history, historical linguistics, archaeology, bird-watching, depth psychology, and the theory of complex adaptive systems.

Oh yeah... he also coined the term "quark," after developing key aspects of the modern theory of quantum physics... for which he earned an unshared Nobel prize in physics in...

Transcript of Creative Strategy Planning And Development - Presentation

Creative Strategy Planning And Development - Presentation Transcript
1. 8 Creative Strategy: Planning and Development McGraw-Hill/Irwin © 2004 The McGraw-Hill Companies, Inc., All Rights Reserved.
2. Advertising Creativity CREATIVE STRATEGY: Determining what the advertising message will say or communicate CREATIVE TACTICS: Determining how the message strategy will be executed
3. ADVERTISING CREATIVITY Advertising Creativity: the ability to generate fresh, unique and appropriate ideas that can be used as solutions to communication problems. Two perspectives on advertising creativity Suits Poets “Its not creative Artistic/aesthetic unless it sells” value and originality
4. This Norwegian ad generated debate over the use of an artistic, soft-sell approach
5. Young's Creative Process Immersion Getting raw material or data, immersing one's self in the problem to get background. Digestion Ruminating on the data acquired, turning it this way and that in the mind. Incubation Ceasing analysis and putting the problem out of conscious mind for a time. Illumination Often a sudden inspiration or intuitive revelation about a potential solution. Verification Studying the idea, evaluating it, and developing it for practical usefulness.
6. Wallas's Creative Process Preparation Gathering information Incubation Setting problem aside Illumination Seeing the solution Verification Refining the idea
7. Inputs To The Creative Process Preparation/Incubation/Illumination General Preplanning Input: Books, periodicals, trade publications, clipping services, journals, magazines, etc. Trends, developments in marketplace Product Specific Preplanning Input Qualitative and quantitative studies Problem detection studies Focus groups Ethnographic studies
8. Inputs to the Creative Process Working with Reading and the client analysis CREATIVE Trying the Listening PROCESS product to others Asking Product Questions research
9. Verification and Revision of Ideas Objectives: Evaluate ideas generated Reject inappropriate ideas Refine remaining ideas Give them final expression Techniques used: Directed focus groups Message communication studies Portfolio tests Viewer reaction profiles Use of Storyboards and Animatics
10. Commercials can be evaluated in storyboard form as part of the creative process
11. Advertising Campaigns Advertising Campaign A set of interrelated and coordinated integrated marketing communication activities that center on a particular theme or idea that appears in different media across a specified time period. Campaign Theme The central message that will be communicated in all of the various IMC activities Miller Lite “At a place called Miller time” BMW “The Ultimate Driving Machine” Chevy Trucks “Like a Rock”
12. Successful Long-Running Campaigns Nike Just do it Allstate Insurance You’re in good hands with Allstate Hallmark cards When you care enough to send the very best Budweiser This Bud’s for you Intel Intel inside State Farm Insurance Like a good neighbor, State Farm is there Chevy Trucks Like a rock Dial soap Aren’t you glad you use Dial?
13. This ad is part of a new advertising campaign theme for Miller Lite beer
14. Top Ten Advertising Slogans of the Century Company or Brand Campaign Theme 1. DeBeers Diamonds are forever 2. Nike Just do it 3. Coca-Cola The pause that refreshes 4. Miller Lite Taste great, less filling 5. Avis We try harder 6. Maxwell House Good to the last drop 7. Wheaties Breakfast of Champions 8. Clairol Does she or doesn’t she 9. Morton Salt When it rains it pours 10.Wendy’s Where’s the beef?
15. Copy Platform Outline 1. Basic problem or issue the advertising must address. 2. Advertising and communications objectives. 3. Target audience. 4. Major selling idea or key benefits to communicate. 5. Creative strategy statement (campaign theme, appeal, execution technique). 6. Supporting information and requirements.
16. Means of Finding Major Selling Ideas “The major selling idea should emerge as the strongest “The major selling idea should emerge as the strongest singular thing you say about your product or service. This singular thing you say about your product or service. This should be the claim with the broadest and most meaningful should be the claim with the broadest and most meaningful appeal to your target audience…” appeal to your target audience…” Using a unique selling position Creating a brand image Finding the inherent drama Positioning
17. Unique Selling Proposition Three characteristics of a unique selling proposition: Each advertisement makes a proposition to the customer It must be one the competition cannot or does not offer It must be strong enough to pull over new customers to the brand
18. An ad that uses a unique selling proposition
19. Creating a Brand Image Used when competing brands are so similar it is difficult to find or create a unique attribute The creativity strategy used to sell these products is based on a strong, memorable identity for the brand through image advertising Frequently used for products such as soft drinks, perfume, liquor, clothing, airlines.
20. No Fear’s advertising creates a unique image for the brand Source: Courtesy No Fear.
21. Creating a Brand Image David Ogilvy’s Approach Brand image or personality is particularly important when brands are similar Every ad must contribute to the complex symbol that is the brand image Leo Burnett’s Approach Find the inherent drama or characteristic of the product that makes consumers buy it “(Inherent drama) is often hard to find but it is always there, and once found it is the most interesting and believable of all advertising appeals.”
22. Approaches to the Major Selling Idea: Inherent Drama and Positioning Inherent Drama: Focus on consumer benefits with an emphasis on the dramatic element in expressing them Messages generally presented in a warm, emotional way Hallmark, Maytag, Kellogg Positioning: Establish a particular place in the customer’s mind for the product or service Based on product attributes/benefits, price/quality, use or application, type of user, problem solved
23. This ad helps position 3M as an innovative company
24. Burger King searches for the right ad campaign 76 Have it your way. 86-87 This is a Burger King town. 77-78 America loves burgers 87 The best food for fast and we’re America’s times. Burger King. 87-89 We do it like you’d do it. 78-80 Who’s got the best darn 89-91 Sometimes you gotta burger? break the rules. 80-82 Make it special. Make it 91-92 Your way. Right away. Burger King. 92-94 BK Tee Vee: I love this place! 82 Aren’t you hungry for Burger King now? 94 Back to basics 82-83 Battle of the burgers. 94-96 Get your burger’s worth. 83 Aren’t you hungry? 96-98 It just tastes better. 99 Go the distance 83-85 The big switch. 2000 Got the Urge 85-86 Search for Herb. 01-02 The Whopper Says 86-87 This is a Burger King town 02-03 At Burger King You Got It

Sunday, 6 September 2009

Pepsodent - A Successful Advertising Campaign

Successful Advertising Campaign

Brand: Pepsodent
Agency: Lowe

The Dishoom Dishoom success story

Pepsodent's home run upto 1998

Pepsodent's credentials of 'long lasting protection from germs for hours after brushing', enabled the brand to grow and differentiate itself powerfully vis a vis the market leader- Colgate Dental Cream.

From Process to End Benefit

1999-2000 Between 1999 and 2000, Pepsodent decided on a logical extension of the 'process' benefit of germ fighting to end benefits.This was an attempt to take on Colgate Dental Cream in its own territory, with a new formulation and new communication.

The Result

Weakening of all associations with the brand leading to dilution in Pepsodent's distinctiveness as a Germ Fighter.

The Challenge

2001 It was time to win back the distinctive edge- by appropriating once again the proposition of 'Long lasting Germ Protection' in consumers' minds. And Pepsodent had to also contend with a rejuvenated Colgate Dental Cream at the same time.

Creative Strategy followed by pepsodent

To heighten concern about germs and thereby leverage Pepsodent's core proposition in this context. Research helped identify several situations wherein a mother tends to show anxiety about her child's teeth .This helped us home in on the most relevant and provocative insight.

Insight :

Mothers worry about their childrens' eating habits, more so when they are out of her sight. They don't want to fight with them over this. But, if they don't do anything, they feel they are being irresponsible .

Advertising Idea:

Don't fight with your children over their 'out of control' eating . Let Pepsodent fight the germs for you.

Sweet food was used as a torture test to depict Pepsodent's efficacy at germ fighting. The sound mnemonic of Dishoom Dishoom was used to depict the conflict between the mother and child, and also, the action of Pepsodent on germs.

Results of the campaign (pepsodent campaign)

The Pepsodent mother became aspirational. Mothers using CDC were forced to sit up and pay attention to Pepsodent- a brand that understood them and addressed situations that they encountered in their day to day life. And Pepsodent gained back its edge of 'long lasting germ protection'.

Quantitative evidence of success

This was reflected in improvements in its market shares- an increase of 2.85 percent points between March 2001 and December 2001 (from 10.96% to 13.81%).Share increases were steady and consistent, with increasing GRP spend.

Process of successful advertising plan

Process of successful advertising plan

Many factors have to be considered when making an advertising plan. Like the type of message to be delivered, the audience to be targeted, how they should be targeted, budget, etc. all of which depends on the nature of the advertisement.

Regarding the type of message to be delivered, try thinking from the point of the customer. What will impress him and catch his fancy. Note down points what the customer expects from the company and what advantage will he have when dealing with the company. Effort should be made to retain viewer or listener’s or reader’s interest in the advertisement until the end. This procedure is known as message selection.

After creating the outline of the picture, pick lines that will actually attract the customer. The message shouldn’t be long enough to bore the customer. Some advertisers are under the illusion that more the matter written, the better the message delivered. Usually they fear that they don’t miss out any information. This does nothing but decreases the effectiveness of the ad and customer is left unsatisfied.

For example, the heading of the advertisement shouldn’t be just “We Sell Clothes”, which is too precise. The liking of the people should be studied and the headline should be designed such that the customer feels that his needs are met. It should also take into consideration seasonal changes like If the season at that time is summer and there are lots of beaches around that area, the heading of the ad should be something like “Summer Clothes for Sale” or “Get the heat off – Buy Swimwear”. The body of the advertisement should talk of the necessities to switch to summer clothes like cotton clothing. It should discuss the health point of view too, like cotton cannot be used as swimwear as it will cause contamination, therefore the swimwear is made of synthetic material. Also include lines about swimwear for overweight people.

Ads are either traffic builder or relationship builders or reputation builder. Suppose the budget involved is less, the target should be relationship builder. Because once the customers are established, they will start trusting the company and won’t switch to other companies. According to a research it takes ten percent less resources to retain existing customers than attracting new customer. If the focus is on brand recognition, the advertisement should be traffic building.

The next point is whether the advertiser wants quick results or long lasting results. If quick result is desired, then a time limit should be levied. Like in case of seasonal sales, the customer hurries to get advantage before the offer is over. So quick results are expected in this case. But the disadvantage with advertisement with time limit is that the customer are bound to forget about the product or the company within a short period and it doesn’t creates a deep impact on the minds of the customer.

Competing against rival company’s ad also contributes to a successful advertising plan. The power of the message should be compared to that of the competitors’. It doesn’t mean that the advertiser should use the same plan like his competitor, it would look like imitation and effectiveness will be decreased. But the advertisement should be planned smartly via a different and effective path, to out-do the competitor’s advertisement.

The description of the product is also very vital like suppose an advertisement is made for a restaurant, it will get customers immediately, if it is attractive. But if the advertisement is for a computer, it won’t yield immediate results, as it’s not every day that someone buys a computer. This is called analysis of the purchase cycle.

If targeting for a higher impact, newsletter is the best bet. But if the newsletters are sent to the real potential customers, then this approach should be adopted for message delivery. It should only be opted be after thorough analysis, no matter what the budget is. Another important point is to always hire a professional advertiser or an ad writer because not hiring one will sometimes be more expensive and results in more losses