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Idea writing Lecture 1

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AD 216: Lecture 1
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Idea writing Lecture 1

  1. 1. WELCOME FEBRUARY 2019 IDEA WRITING GINA COLLURA CREATIVE DIRECTOR/CW
  2. 2. - Attendance is taken every week. - "If you're not early, you're late"- Coach Carter - Check Blackboard every week. Assignments, videos, deadlines, etc, are there. - Read the syllabus. - Do the work. - Go above and Beyonce. Every. Damn. Day. - Grades. This is not an easy class. GROUND RULES
  3. 3. A LITTLE ABOUT ME
  4. 4. - Understand the importance of the verbal, not just the visual. - Create advertising that uses the power of storytelling. - Bring emotion into your ideas. - Gain a greater appreciation for words + their power. - Have an amazing portfolio with a diverse body of work. MY GOALS = YOUR GOALS
  5. 5. TEXTBOOKS FOR THIS CLASS The Idea Writers, Teresa Iezzi The Elements of Style, Strunk and White The Book of Gossage, Gossage and Goodby
  6. 6. "I think, in general, people don't buy products, they buy stories." – Ty Montague FROM THE IDEA WRITERS
  7. 7. “The ad industry’s traditional approach to a story arc—beginning, middle and end in a 30-second spot—is a thing of the past. Rather than telling one story in one video and uploading it once on YouTube, tell stories that can’t be contained.” – David Droga FROM THE IDEA WRITERS
  8. 8. “...Are you setting up an idea that will have a life of its own?”– Susan Credle FROM THE IDEA WRITERS
  9. 9. An eccentric 1960s ad-man who ran an offbeat agency out of an old San Francisco firehouse. He was infamous within the industry for groundbreaking and subversive campaigns, witty one-liners, and a magnetic personality, Gossage was disillusioned with the world of advertising. He had one of the most prolific and influential mid-life crises of the 20th century. HOWARD LUCK GOSSAGE
  10. 10. An eccentric 1960s ad-man who ran an offbeat agency out of an old San Francisco firehouse. Whilst infamous within his industry for groundbreaking and subversive ad campaigns, witty one-liners, and a magnetic personality, Gossage was disillusioned with the world of advertising. He had one of the most prolific and influential mid-life crises of the 20th century. HOWARD LUCK GOSSAGE
  11. 11. PORTFOLIO. PORTFOLIO. PORTFOLIO.
  12. 12. Your portfolio is your golden ticket to a job. Agencies expect young creatives to write, design, concept, and be able to craft a compelling brand narrative using words and pictures. YOUR PORTFOLIO + A JOB
  13. 13. Today, it’s about figuring out the story of your product/brand. Successful brands have a story/narrative built right into their design. DOES THE WORK IN YOUR PORTFOLIO HAVE EMOTION? (NOT JUST FUNCTION.)
  14. 14. WRITER? ART DIRECTOR? UX/UI? Your job isn’t to create an ad. It's to create something useful, entertaining, or beautiful on behalf of a brand.
  15. 15. If storytelling is the essential job of the CW, design is the starting point; design can inform how a story plays out and how a brand touches people at every stage in their interaction with it. WRITERS + ART DIRECTORS + UX/UI
  16. 16. THIS SEMESTER. THIS CLASS.
  17. 17. IF YOU HATE WRITING, YOU'RE IN THE RIGHT PLACE Visual Identity is one thing. Verbal Identity is another. Brand Voice. Brand Personality. It's not just about what a brand looks like, it's about what it says and how it says it, too.
  18. 18. YOU WILL WRITE. A LOT. You will observe. Listen. You will turn your observations into stories. You will turn a portfolio campaign into a better one. You will become a better presenter and storyteller.
  19. 19. Don't cheat yourself from doing all of the writing assignments in this class. DID I MENTION THAT YOU WILL BE WRITING A LOT?
  20. 20. DO YOURSELF A FAVOR Get a journal/notebook just for this class. Maybe you can add your ramblings to a section of your Portfolio?
  21. 21. WHEN DO WE HAVE TO TELL A STORY? Eulogies. Toasts. Roasts. Stand-Up Comedy. Improv. Pitching new business. Meeting new people. Going on interviews. There are a myriad of reasons why you'll tell a story during your life. Here's your chance to put in the time and effort for your Portfolio and your craft.
  22. 22. WHAT IS VERBAL IDENTITY?
  23. 23. VERBAL IDENTITY ACCORDING TO LANDOR EVERY WORD ATTACHED TO YOUR BRAND—WHETHER IT’S A PRODUCT NAME YOU TRADEMARK OR A TWEET YOU RELEASE INSTANTLY—IS PART OF YOUR VERBAL IDENTITY. YOUR CORPORATE NAME AND TAGLINE, THE WAY YOU ORGANIZE AND NAME YOUR PRODUCTS, THE STRATEGIC MESSAGES YOU CHOOSE, AND THE TONAL DECISIONS YOU MAKE ARE ALL PART OF HOW CUSTOMERS PERCEIVE YOU.
  24. 24. VERBAL IDENTITY ACCORDING TO INTERBRAND DEFINES HOW A BRAND SPEAKS WITH A DISTINCTIVE PERSONALITY, THROUGH COMMUNICATIONS AND WRITING STYLE.
  25. 25. VERBAL IDENTITY ACCORDING TO SIEGEL + GALE IT'S A WINDOW INTO THE PERSONALITY OF A COMPANY...IT CAN BE QUIRKY AND FUNNY. OR NOT.
  26. 26. VERBAL IDENTITY ACCORDING TO WOLFF OLLINS AS THE CRAFT OF DESIGN EVOLVES, AND WE CREATE INCREASINGLY INVISIBLE BRANDS THAT THRIVE IN A VOICE-ACTIVATED WORLD, WE NEED TO RETHINK THE CURRENT APPROACH. IN THEORY, A GOOD INTERFACE SHOULDN’T DRAW ATTENTION TO ITSELF. IT SHOULD FADE INTO THE BACKGROUND. IT SHOULDN’T DISTRACT THE USER OR GET IN THE WAY OF INFORMATION. BUT WE’RE TALKING ABOUT THE VALUE OF DIVERSITY, DIFFERENCE, AND CHOICE HERE, AND THERE SHOULD BE MORE ROOM TO PLAY.
  27. 27. WHAT ARE SOME BRANDS THAT HAVE A DISTINCT VERBAL ID? DO NOT SAY APPLE OR NIKE
  28. 28. VERBAL IDENTITY THE WORDS WE CHOOSE, THE NAMES OF PRODUCTS, THE COPYWRITING VOICE AND TONE ON OUR WEBSITES — ALL THE VARIOUS ASPECTS OF VERBAL IDENTITY MATTER, ESPECIALLY AS MORE VOICE-ONLY INTERFACES MAKE THEIR WAY INTO OUR HOMES, CARS, AND DAILY LIVES.
  29. 29. VERBAL ID + YOU YOUR PORTFOLIO. THE WORDS ON YOUR ABOUT PAGE. YOUR SELF-PORTRAIT + WHAT YOU SAY ABOUT YOURSELF. YOUR INTERFACE DESIGN + NAVIGATION NOMENCLATURE. YOUR RESUME.
  30. 30. PONDER THIS: VERBAL IDENTITY AS VOICE-CONTROLLED AI ENTERS MILLIONS OF HOMES, A MODERN DILEMMA PRESENTS ITSELF: HOW DOES ONE PROPERLY ADDRESS A VIRTUAL BEING?
  31. 31. BRAND VOICE + TONE CREATES EMOTION, GIVES A BRAND A PERSONALITY, CREATES A FEELING, HELPS MAKE A HUMAN CONNECTION, NEEDS TO BE AUTHENTIC
  32. 32. MINI COOPER LET'S MOTOR CAMPAIGN LAUNCH, 2002
  33. 33. nope. that's boring. mundane. a category norm. this was a car launch––without TV!!! it had to be different. look different. sound different. it had to zag. WOULD IT HAVE BEEN AS GOOD IF IT READ, "LET'S DRIVE?"
  34. 34. SHOE POLISH LONG COPY, BEAUTIFULLY WRITTEN WINS CRAFT CATEGORY
  35. 35. SNICKERS ON SOCIAL Extending a Big Idea on Social
  36. 36. FAMOUS CWS TO KNOW HOWARD GOSSAGE LUKE SULLIVAN SALLY HOGSHEAD ARI MERKIN SAL DEVITO LEE CLOW JEFF GOODBY STACY WAHL PHYLISS ROBINSON BILL BERNBACH DAVID OGILVY NEIL FRENCH MARY WELLS JANET CHAMP NANCY VONK TY MONTAGUE DAVID DROGA
  37. 37. JANET CHAMP Helped create the Brand Voice for NIke in the 90s'-2000's
  38. 38. WE WILL STUDY GREAT WRITING You will write and write and write and you will become a better writer, concepter, and creative.
  39. 39. STEPHEN KING “Bad writing is more than a matter of shit syntax and faulty observation; bad writing usually arises from a stubborn refusal to tell stories about what people actually do―to face the fact, let us say, that murderers sometimes help old ladies cross the street.”  ― Stephen King, On Writing: A Memoir of the Craft
  40. 40. ANNE LAMOTT “If you are a writer, or want to be a writer, this is how you spend your days―listening, observing, storing things away, making your isolation pay off. You take home all you've taken in, all that you've overheard, and you turn it into gold. (Or at least you try.)”  ― Anne Lamott, Bird by Bird
  41. 41. Carefully observe someone from a distance without actually staring. Listen to their voice. Were they happy? Was their voice shrill, dull or softly spoken? Was it heavily accented? What language did they speak? WE NEED TO BE OBSERVERS
  42. 42. Helps us dream-up characters. Helps us concept and rest our brains. Helps us stay connected with the world around us and get away from screens. OBSERVATION
  43. 43. OBSERVATION ASSIGNMENT Due for Class 2: Spend some time at a coffee shop or diner.  Listen, observe, people watch.  What do you hear? What do you see? Write 2-3 paragraphs about your observations. You will be sharing your observations with the class―as you are required to write 2-3 paragraphs for this assignment. It will be collected. so bring a print-out with your name on it.
  44. 44. ALSO DUE CLASS 2 Look at your Portfolio. What campaign needs a boost? OR grab a new brief. Be prepared to show me which of your portfolio campaigns you want to amplify. Project 1: Create the Brand voice for a Beverage Brand OR re-boot an existing brand in your portfolio. Beverage Brief is available on Blackboard.
  45. 45. 2 ASSIGNMENTS DUE NEXT WEEK 1. Observation Assignment: Read to class + hand-in 2. Portfolio Re-boot or Beverage Brief (Dirty Lemon): One-on-One Reviews. Show me what you want to work on.
  46. 46. LET'S DO THIS! NOW GO CHECK BLACKBOARD, SIT IN A COFFEE SHOP AND LISTEN, + TAKE A GOOD LOOK AT YOUR PORTFOLIO. LECTURE 1

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