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INSIST ON HAVING COPYWRITERS WHO ARE . . .
HUMOROUS
Effective radio commercials come from imaginative ad specialist-writers who are backed by their agencies. The creative pace starts with agency management ; moves outward to the client, inward to the staff. Top copy comes from facile writers who act, react as consumers, have open minds, see a total commercial as comprised of words plus production elements
Tom Lisker, L. C. Gumbinner agency
should have no rules, savs August Lerch, copywriter at William Estv who concentrates on Ballantine beer and ale. He thinks \ou need "a hard sell stor\ in a soft sell atmosphere" with entertainment replacing the straight copj approach. \ heavj user of jingles. Mr. Lerch thinks this musical form "establishes mood and product image" then implemented with an announcer delivering major cop) point-.
Ever) good copywriter must have a discriminating ear and a feeling lor rhythm and pacing, natural dialogue and idiomatic phrasing, alleges Lorn Lisker, copywriter at Lawrence (.. Gumbinner agency. It's this appeal to the ear which makes radio copv sing and sell.
And it means you can make a real impact 1 ecause the listener has
0 fill in the video portion of the :ommercial. When your radio audi•wc actuall) work with jrou in wilding a picture and a storj . you an make a much stronger impact."
1 hats win he characterizes the tele
vision audience as more apathetic.
Mr. Lisker. in common with other effective copv specialists, sees the radio announcement usually 60 seconds — as a unit within which all the dramatic varietv of Broadwav pla\ can he capsuled. He drawheavilv on sound effects, music and musical effects for punctuation to create mood and style.
The most-remembered commercials and those which are the most popular are written b\ people who are advertising specialists and -ale-men as well as copywriters.
Margaret Throne of Estv. who writes for Pacquin and [Jen-Gay, puts it this wax: " \ successful radio writer and this is one who helps sell merchandise — has to be a consumer, think and feel like one before he can sell the listener. We have to approach the cop\ problem with (he total merchandising problem in mind
what kind of radio i being used to accomplish what kind of a goal. what kind of people do we want to reach, and what product benefit can
we tell the listeners the) will have."
McCann's Joan ^ack agrees that radio copy has never been more exciting, and never more difficult to gel across. "We write with the knowledge that were competing with electric razors in the bathroom, crowds on the beaches and traffic on the highways. We no longer have the familv attentivelv tuned to radio fitting down in the living room."
I hi new living pace for radio listeners from the sedentarv to the mobile demands a new and livelv pace lor radii' copv . I hi i whv there's been an influx of jingles — bad "in and a continued -tie-. on raucous, strident ami insistent copy.
"Music i -liil u I. -av Mi- vaok.
"hut it takes a lot of monev to turn mil a reall) unusual jingle which will put \ "ii ahead of the competition. '
The commercial must 1 e m<>-t
,n resting in term ol the pi iiduct it
rather than the device used, in
Davidyne Saxon's opinion. "The most
Pleasi turn to p<
PONSOR
1(> ma's 1959
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