Sponsor (Jan-June 1953)

Radio ...and now a message {I0n our sponsot TV by Bob Foreman 1 was riffling through my morning".-, mail recently and found, reposing among the communiques from tailors, stockbrokers, and time salesmen, a letter which went thus and so: "Dear Mr. Foreman: "I am a successful advertisement writer (print). I should like to become a successful advertisement writer (TV). "What methods would you suggest to speed this transition? Sincerely, An Interested Reader from the Midwest" Since Interested Reader has stated that he does not mind receiving an answer in the form of a public notice, I'll try to put my ideas on the subject down here. But hefore doing so, let me preface my remarks with this thought: Mr. I.R., you are very fortunate indeed that your background is print advertising. In fact, no experience — whether it be in film work or in live television production or an animation studio is better than yours. There are two reasons for this. One important. The other a wee bit unfortunate. First, television copy is advertising. At least, it's intended to be. As such it is directed at the same creatures who read and react to print advertising. The only difference in them is that they possess a simulated-mahogany box, fronted with glass, and clogged with wires, from which come noises and pictures in varying degrees of clarity. Therefore, it is safe to assume that these creatures react the same way to the same stimuli. Tell them via television that they will become more lovely, more successful, more comfortable by using certain products and you are talking their language— for these appeals are just as basic and effective in TV as thev are in magazine or newspaper advertising. It's the technique — the mechanics— of the media that vary. Appeals never do. So as a print writer you know what works appealwise. You've seen scores of headlines that pull and body copy that gathers in the returns and price luililiiiililiilllllllllllillliiiillilllllliii lli;illll!llllllllll!!l!!llll!illll!!llira Bob Foreman's advice to aspiring TV copywriters: 1. // you had print media experience, u^" it — don'! he ashamed of it. \lost advertisers and agencymen are old hands at joint media advertising themselves 2. Watch a good samnling oj II commercials daily. You'll develop a taste tor tin type ot copy llmt tame* m ross to lieieers: apply taste to your copy It. I isit studios to study the techniques oj translating copy into live or film commercials. Get to I, now directors, camera anil audio men, as well as admen I. Plunge in ami write soon unsolicited II copy, make stick figures to illustrate in lion, correlate audio to individual ironies, give camera, audio directions .■>. Iri out youi copy with ■-lop watch in hand, following stiil. figure instructions, allowing lor transitions: then discuss unit efforts with directors, camera men. agency people. Let then: check \our timing, giie suggestions ads that unload counters the very next morning. You've seen longterm series that have changed the attitude of millions toward a company. That's old hat to you and feel good that it is! So, Mr. I.R., consider yourself way ahead . . . ahead of many now getting into this business from fields that may seem much more closely allied to television (such as the film business, animation, Little Theatre movements, etc.). What to do first? Well, since experience has always been the best teacher, the best way to learn to write television copy is to start writing it. When, you do, you'll have to get mixed up with film folks if your copy is going onto film. You'll have to get mixed up with camera men and directors and audio men, if it's intended as a live presentation. By discussing your efforts with these, by seeing what mechanical as well as creative problems your words and pictures present to the other people involved, you'll learn a lot. I just glanced at the dateline on your letter and find that it reads "Kansas City." So television is familiar to you as a viewer as well as an advertising man. This means, I'm sure, that you've seen a lot of copy televised. Unless you are different from every other advertising person I've ever met, you've formed a lot of opinions as to what is good TV advertising and what seems to create an unsavory aroma. I'd say they are pretty valid opinions. You are no neophyte in advertising copy. Now, I mentioned there was a second and "unfortunate" reason that a print background was highly desirable for a TV copywriter. This reason is simply the historical fact that most of. the advertisers and most of the agency people, especially account men. with whom you will deal as a TV-copy man are old hands at print advertising. When they learn that you too came from this solid realm and not from movieland or summer stock, they are far more likely to listen to you and accept what you write. I called 64 SPONSOR