A concise guide to effective advertising strategy.




Advice on how to focus on what matters in an ad campaign.

Essayist, educator, and public speaker Ibach (How to Write an Inspired Creative Brief, 2nd Ed., 2015, etc.) has decades of experience as an advertising copywriter/creative director, and in this book, he can’t help but admire the strong simplicity of a well-wrought, single-minded proposition, or “SMP.” From an advertising agency’s perspective, the SMP is the “one, most important thing we need to say about [a] product.” It’s also the linchpin of a stellar creative brief—the document that drives an agency’s advertising campaign. With laserlike focus, this book effectively analyzes the SMP by first discussing its current usage and then revealing “new perspectives” on its application. Advertising newcomers and readers outside the industry will find that this first section does a fine job of defining the central concept, and it’s written with aplomb. It highlights several excellent examples of SMPs, such as those for the European Tango carbonated drink and the drug Viagra; shows the SMP’s relationship and importance to the creative brief; and distinguishes between an SMP’s features and benefits, among other things. One key point that Ibach makes is that an SMP must be aimed at a specific target audience. He closes the section by reviewing a weak brief and walking readers through how to fix it, which ties in with a workshop that he promotes at the book’s end. Ibach also includes creative exercises that help to hone the reader’s SMP-writing abilities, such as naming two features of a mundane object. The second, very brief section of this well-designed guide relies on input from two other advertising professionals (consultant Paul Feldwick and DDB Canada president Lance Saunders), proposing a way of approaching the SMP, which, Ibach admits, has already been adopted by some executives. It basically revolves around an understanding that the decision to buy is “based solely on emotion, not rationality,” to quote Saunders. What’s missing in this part of the book, though, are the meaty examples of the first section. Still, it makes for a good send-off, and it encourages deeper creative consideration of the SMP.

A concise guide to effective advertising strategy.

Pub Date: May 5, 2018

ISBN: 978-0-692-12000-2

Page Count: 110

Publisher: Ibach Media Group LLC

Review Posted Online: July 31, 2018

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This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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