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Stay up to date with the latest content on IHAVEANIDEA, from new Agency Profiles, to interviews with top creatives and more. But if seeing this dead horse get flogged once again is more than you can bear, I invite you to scroll down immediately to Part Two. For years now, copywriters of a certain age have been predicting the demise of the completely visual idea.
So, from all this, copywriting students have drawn the reasonable inference that it’s better to think in pictures than in words.
Here is the reality: Even at the finest, most award-winning agencies, ads are typically driven more by copy than by visuals.
Add up the realities of our business and you’ll see that we need to develop and maintain our copywriting chops, despite what the show annuals say. If we as copywriters agree that words are now redundant, we ourselves will soon be redundant.
You already learned about many of these tools in high school English – devices like metaphor and hyperbole. Aristotle said there are basically only three ways to bring someone around to your way of thinking.
Many tools of rhetoric can be used visually, but some of them belong exclusively to writers. Metaphor is the first love of English teachers, poets and advertising creatives, and it’s used skillfully by pretty much anyone who enjoys talking. For the record, the Midas ad was done by me and Annie Lee at Ogilvy, several months before the Volkswagen version.
Though hyperbole is typically viewed these days as a visual device, it can also succeed wonderfully in words alone. Here, ordinary citizens are presented as perfectly reasonable targets for shooting practice. Because irony by definition involves two messages (the explicit message plus an implied one), it’s easier to achieve when you have words to help. Creating paradox with your headline can result in work that has even more edge and power. A pun, strictly speaking, is nothing more than a word or phrase that carries a second meaning. I believe an advertising pun works best when both interpretations refer positively to what you’re selling. Ensuring that your pun kicks both ways doesn’t guarantee that your headline will be a good one.
Parallelism is the deliberate repetition of a particular word, phrasing or sentence structure for effect.
Up to now, I’ve been telling you about rhetorical devices that are as available to visual thinkers as they are to headline writers. Simile gives you a subtler way to provoke mental images, a way that is not available to strictly visual thinkers.


Rhetorical questions are powerful tools, tools that don’t exist in all-visual advertising. I have put these last tools together because they boil down to the same thing: human beings talking.
You can mimic human speech patterns simply to give your headlines a more informal, conversational feel. One of my students told me that he found headline writing to be a challenge because it was such a departure from the visual thinking he’d been doing for so long. I’ve pasted some links below that will lead you to great sites with a lot more information on rhetoric. Single ear cushion model provides clear sound quality and comfort even after hours of prolonged use. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. The ear cups and cushions have been enlarged from previous models to enhance pilot comfort.
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Part One is devoted to yet another lecture about how copywriters need to actually write rather than limiting themselves to visual thinking. There, you’ll find practical tools and techniques that will take you from wishing you could write headlines to actually doing it. Ads with copy are merely quaint ornaments designed to lend a soupcon of variety to your book. Annuals may showcase the planet’s best advertising, but they represent only the thinnest sliver of what creative people actually do day in and day out.
If your client can’t afford photography or illustration or system work, or if final art is due tomorrow, you may be forced to work with nothing but an existing pack shot and a headline.
Canadian readers will be familiar with TAXI’s long-running campaign for Telus Mobility. Last year, a handful of my copywriting students asked me why we were bothering to practise headline writing when all the great ideas these days are visual.
If a writer spends most of his day looking over the art director’s shoulder while she works Photoshop, really, why have a writer at all? Here in Part Two, I’m going to talk about the tools that work best in advertising – and how they can work for you. When people describe a bad toupee as a rug, or when they call a troubled celebrity a train wreck, they are speaking in metaphor.
The structure of the headline leads us to expect that the floor will be one more metaphor, but it ends up being used quite literally.
Here, Ultra Tide is shown as a team of overwhelming strength that leaves the opposing side, the ketchup stain, hopeless, despairing and doomed.
The fact is, visual mashups are now so common, it’s inevitable that other people will arrive at the idea you thought was yours alone. But in this case, it took the headline to tell us just how intimately connected we are to our bathrooms.
It is well used in visual concepts, because it makes it possible to provoke shock or laughter without the need for words. The power of paradox comes from the fact that the contradiction often turns out to contain a thought-provoking grain of truth. Lots of people (including me) have told junior writers that they shouldn’t have puns in their books.
Today, through the magic of Photoshop, that second meaning is being given to pictures instead of words. One method was suggested to me by my first boss, the late Jerry Goodis, who had been the most famous and influential ad person in Canada during the 1960s and 70s.
Thus, the pun did not kick both ways, which would explain why I saw these ads in magazines, but not in award shows. The weird thing about thinking up a pun is that it causes a rush of giddy glee that can lower our defenses against corniness. I’m an in-house copywriter now (boo!), but when I was pimping my book around town I was told by creative directors to cut down my copy as much as I could (even getting rid of headlines if possible).


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Yes, the writer contributes ideas, but if they’re all visual, wouldn’t the creative director build a more productive team by just hiring two art directors?
Equating your subject with something apparently unrelated helps guide your audience to a deeper and more specific understanding of that subject. Personification allows you to present mere objects as being capable of love, hate, fear, hope and every other emotion available to humans.
By contrast, people who write headlines stand a much better chance of developing a tone of voice that belongs exclusively to their brand. Which seems a little unfair, when you consider that most visual-driven ads are ultimately puns executed without words. I had brought Jerry a layout featuring a particularly egregious pun, and he handed it back to me, saying, gently, “It has to kick both ways. Typically with anesis, one starts with a fairly lofty, dignified or respectful statement and lets it all go downhill from there. The most brilliant visual ads in the world – and there have been a lot of them – have never captured the nuances of human speech in the way that a headline-driven ad can.
If this website had a bigger budget, I would rent Al Gore’s cherry picker, and I would use it to show you how far off the chart our troubles are becoming.
Also, I will present my case in the terms most relevant to you right now – that is, from the perspective of launching your career.
Indeed, when I tried recently to convince my copywriting students of the relevance of headlines, I had to dust off 15-year-old annuals to prove my point. Every ad for Telus features plants, flowers or animals, always close-cropped on a white background.
But it will work best for you if you practise writing headlines using each device that’s described. People will grasp the wretchedness of a toupee much more quickly if you call it a rug than they will if you just describe it as unattractive. The Economist and Time are both newsmagazines, but an Economist headline would never make sense in an ad for Time. Similarly, no human being could ever be as noisy as a loudspeaker, but it helps Sony’s Noise Cancelling Headphones to depict that situation as reality. Not all of them will be your favourites, but I think you’ll agree that many of them have provided the foundation for some brilliant writing.
This means that a huge opportunity for nailing emotions and insights has fallen by the wayside. Here he was, having to specifically ask for a skill that could have been taken for granted just ten years ago.
Most of them are pretty bad, but their badness represents a huge opportunity for writers who aren’t afraid to write.
So, if your ad is to have any idea at all, again, it will have to be found in the headline.
But considering that they’re over two thousand years old, the tools are still amazingly sharp.
I can’t think of a single ad, good or bad, that has ever found another path to reach its audience.
It means developing the confidence that you can write five decent headlines ten minutes before they’re due.



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