Break Into Copywriting: Create Your First Spec Ad | Nicki Krawczyk | Skillshare

Break Into Copywriting: Create Your First Spec Ad

Nicki Krawczyk, Copy Coach & Founder of Filthy Rich Writer

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13 Lessons (49m)
    • 1. Trailer

      1:46
    • 2. What is Copywriting?

      3:38
    • 3. The Basic Elements of an Ad

      7:10
    • 4. The Copy Doc

      3:05
    • 5. The Creative Brief

      5:47
    • 6. How to Write a Brief

      5:54
    • 7. Working With a Designer

      2:21
    • 8. Finding a Designer

      3:03
    • 9. The Art of Concepting

      3:01
    • 10. Turning Concept into Copy

      2:30
    • 11. Editing and Revising

      4:05
    • 12. Describing Your Solution

      2:58
    • 13. Your Next Steps

      3:51

About This Class

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So, you're interested in getting into copywriting, huh? Let me guess: You’ve discovered that you need a portfolio to get jobs…but you need jobs to get a portfolio. Not fair, right?

Also, not true.

“Spec” ads are essentially fake ads you create to show off your copywriting skills. They can be for real companies or for fake companies, but they need to show a creative director or prospective employer that you know how to write copy, you know how to solve a company’s problems, you know how to work with a designer and you know how to reach an audience. Spec ads are the perfect way to show off your skills before you get hired to write for real clients. And so that’s what you’re going to create in this class: your first spec ad!

This class will give you an intro into the basics of copywriting—enough to let you write a spec and enough to see if copywriting is a career you want to pursue. This is also perfect for people who are already serious about getting into copywriting and want a springboard to start creating work right away and start learning the fundamentals of the craft.

Transcripts

2. What is Copywriting?: - Hi there. - Welcome to the course. - This is Unit One video one. - What is copyrighting? - So copyrighting is writing that sells, - and that means it could sell a product. - It could sell a service or could sell you on an idea or sell you on taking an action. - Now selling a product and selling or selling a product or selling services. - Pretty, - pretty straightforward, - pretty obvious. - But selling you on an idea could be something like, - um, - a company putting together a video to about their environmental activities to sell you on - how environmentally friendly they are. - And the same token it could sell you on taking an action. - So, - for example, - you could, - um, - clicked on a banner ad that's trying to sell you on signing up for a newsletter list. - Um, - but the end result is that you have taken an action or begin to think something that the - marketer would like you to think. - Copy is the actual words the copywriters, - right? - So, - for example, - a line of copy is, - ah, - a line of words that the copywriters put together. - So here's some examples of copyrighting, - and it's probably actually a lot more pervasive than you. - Even realize it. - ISS You'll find copyrighting and banner ads and e mails in product descriptions and - brochures in direct mail and in magazine and newspaper ads, - website copy and a whole lot more. - Now content is not copy. - This is something different, - and what I mean by content is things like blog's articles and that's articles for websites - were print articles, - a Social media posts this kind of thing content, - entertains and inspires or informs, - but it doesn't overtly cell now. - A lot of content writers also have some experience and populating, - and a lot of copywriters will get hired to do some content work. - And actually, - as it turns out, - content actually ends up being better if the writer has some understanding of copyrighting - principles, - which, - of course, - you're going to get into in the next video. - The great thing about copyrighting is that it connects the people who need products with - the people that produce them. - So we talked about the concept of selling, - and that's exactly what copyrighting does. - But it doesn't trick people into purchasing things or thinking things. - All it really does is connect people to the products that answer their needs. - Where the services that answer their needs or the people are ideas that answer their needs - . - And I should say to that great copy something that connects people to the products or - services or people or ideas that they most need. - It's not easy to write, - but that said, - that's exactly why Copyrighting pace so well, - it takes practice and it takes training. - Um, - but great copyrighting is a very in demand commodity, - and so a lot of people are willing to pay well for it, - And in the next video, - we'll go into exactly what makes up a good and effective ad. 3. The Basic Elements of an Ad: - Unit one video to the basic elements of an ad. - So copy writings a skill. - And it's a skill that requires ah, - lot of training and a lot of practice. - So since should say that we're really just going over the very, - very basics in this course the beginning steps of learning, - try copy, - so this should serve as a refresher if you've had some training, - or this is also a chance to see if you like it. - If you're just getting started and copyrighting, - they're really four main elements of any piece of copy. - First you have the benefit. - Then you have the brand voice. - You have the C t A, - and you have the target audience. - And as I'm sure you guessed, - we're about to explain what all of these are. - The benefit of what you're selling is what the consumer gets out of it. - So, - for example, - if you are selling a razor with, - say, - um, - seven blades, - the benefit is not the fact that it has seven blades, - because that's not what they get out of it. - The benefit is that they probably get a cleaner, - closer shave than ever before. - That's the end result for the consumer. - Um, - those seven blades, - by the way, - are features, - and it could be very tricky to tell the difference between features and benefits. - So you want to be very careful of this. - The benefit is the most important element to convey to the reader. - I can't stress this strongly enough. - It's also, - by the way, - the most easily missed when you're writing, - so be sure to keep an eye out for it. - The brand voice is the particular style of writing or kind speaking. - The brand uses. - Essentially, - it's how a brand says what it has to say, - So the brand could be zany or it could be authoritative, - or it could be friendly or serious or something like that. - But it's It's all the traits that make up how a brand sounds. - C T A. - Stands for call to action, - and this is where you ask for the sale when you actually tell the person who's reading your - ad what you want them to do next. - So maybe you want them to buy now or Senate for a newsletter or come into the store or, - um, - try out our new product something like that. - But it's It's letting them know what that next step for them to take. - ISS. - Make sure that you never, - ever make them gas or even really have to think about their next step. - Spell it out for them as clearly as possible so they can just take it without thinking - about it. - The target audience is the group of people you want your message to reach, - going back to the first video. - These are the people who have the need that your product can fulfill. - And by the way, - this target audience is never just anyone. - Um, - you should always be able to specify at least down Teoh um, - some traits about the person s O. - For example, - if you have a travel website, - the the audience isn't everyone. - In that case, - it's, - at the very least, - you could narrow down to people who like to travel or people who are looking to take a trip - in the near future. - And even that will give you some idea of traits that these people have and allow you to - flesh out the description of your target audience a little bit more. - You need to know about your target audience because you can't write an effective ad unless - you know who you're writing it, - too. - You want to try to convey your message in descending order of importance? - There needs to be a clear messaging hierarchy. - So as you're planning your ad as you're laying out your copy, - you're gonna lead with the benefit and then follow up with any supporting information, - and that would be crucial to understanding that benefit. - And then as you go down in descending order, - you'll probably end with the C t A with the call to action, - letting them know after the digestive Elvis information. - And they're interested in taking that extra step. - What, - that next step, - actually, - ISS. - And of course, - you want to keep it all in the brand voice and in words that your target audience can - relate to if you start using terms that they don't understand or that they themselves - wouldn't use, - the ad isn't gonna ring true to them, - and they're not gonna want to pay attention to it, - and they won't take any action. - Headline is usually the biggest type on the page. - This conveys the most important point, - which again, - of course, - is vast vast majority of the time going to be the benefit information. - Subhead is usually the second biggest type of the page, - and this conveys crucial secondary information when it's needed. - You may not always need a subhead, - and body copy is supporting information. - And again, - this is not necessarily in every ad, - especially in ads that have a small amount space. - You just won't have a room for body copy, - and so you won't have room for any information that you need to put in there. - Which is good because you want to keep your ads as short as possible. - So let's take just a quick look at one ad. - You kind of see how it could be laid out. - Um, - you'll see that the same on sandals. - Splurge on pedicures is the headline, - and the benefit, - obviously is that you're going to get savings on sandals. - And so the target audience is, - um, - probably a woman that's interested in footwear and interested in being fashionable but also - interested in savings. - Um, - obviously, - you know this before you put together this ad, - but I just want to give you a little background information. - The subhead is that treat your feet to summer shoes at prices No one else can touch. - So it's giving that little extra piece of information. - It's not just sandals that are on sale. - It's summer shoes as a whole, - and again it's supporting that savings idea and then the body. - Copy the espadrilles, - ballet flats, - flip flops and more huge selection of top name brands for you and your whole family offer - up to 50% off department store prices. - Well, - that gives even more details. - Give some idea of the selection says that it's actually a huge selection, - and then it actually spells out the exact savings. - Now I should say that the C T. - A. - This call to action is a little bit of a softer call to action, - and some brands or some ads will require a bit of a softer call to action. - Some companies were required in their ads, - and sometimes you can get away with that in some in some magazine or newspaper ads, - though, - as we'll see in the ad that'll have you created, - I would encourage you to give a strong call to action to your ad. - But anyway, - the call to action in this case is, - and while you're in the store, - find the perfect handbag to match equally amazing savings. - So it's adding a little extra information there, - but it's also assuming and telling you to go into the store. 4. The Copy Doc: - Unit one Video three. - The Poppy Doc. - Eso copy doc, - which is short for document, - is also called a copy deck. - It just really depends on your preference. - I personally prefer to copy dot because that's how I learned it. - But copy Docker Copy deck is where you write up the copy. - Four. - Delivery to your designer. - So after you and your designer spend some time together brainstorming ideas for your - project, - you'll split up. - Your designer will work on your on the layout and you'll work on the copy and you'll type - that up in a word document but in a specific form so the true designer will understand it. - That is your copy, - Doc. - Now everyone has their own style for their copy docks. - But the most important thing is that your designer understands it, - and you want to be very consistent and how you denote things. - So, - for example, - you always make sure that your headline is denoted in the same way that buttons are denoted - in the same way. - But very simply, - the most important thing is that your designer understands what you're trying to say. - Here's an example of what a copy got could look like. - So I break out all of the different sections in all capitalized type, - and that all capitalized type is used to tell the designer what the following copy actually - is. - So in this place, - my all capitalized type makes makes it clear that they get your teeth whiter than ever is - the headline and then pretty fat. - The subhead is the fast, - easy, - ultra effective and so on. - And then beneath that is the body. - Um, - if I want to break out bullets, - I can just use little tabs. - Just use little hyphens because I know that my designer will know how to design that - themselves and figure out whether they want to use a different kind of bullet or something - like that. - Now you'll see below of the start, - your white a smile. - Today I have those all caps again, - but I put them in brackets and what that would mean to me and my designer is that that is a - button and the copy with on the button is by now and then below. - That is the fine print. - This Acme whitening products should not be used on Children or animals and the learn more - because of highlight because of underlying that would mean to again me and my designer that - that is a hyperlink, - so again very consistent throughout this whole document. - And if you and your designer have different styles, - all you have to do is just explain to him or her what you mean by different sections or - what you mean by calling something out in brackets. - This is also, - by the way, - not the place to dictate the layout, - the size of fonts, - etcetera. - You want to keep it very much like what you just saw in the last screen. - Very basic, - very straight forward. - You and your designer will go ahead and collaborate on all of those elements that lay out - the phones. - All of that later. - Your copy. - Doc is not the place to do it. - So, - OK, - when you're ready, - it's time to move on to your exercises. 5. The Creative Brief: - Unit two Video one. - The Creative Brief. - The creative brief is the document that lays out all of the guidelines for the project that - you're working on or the project that you will be working on. - It's usually written up by the project manager at a company or someone similar to that rule - . - It is a golden document. - It keeps everyone on the same page about directions, - about goals, - about benefits, - etcetera. - In this spec at scenario, - it's gonna keep you and your designer on the same page. - But when you're working for a client, - it keeps you the designer, - the project manager, - um, - the approving manager, - all of the stakeholders on the same page about exactly what you're trying to accomplish. - So it's crucial that it be written as thoroughly as thoughtfully. - The exact format varies from company to company, - but most elements remain the same. - Do not start a project without a creative brief. - Now, - in this course, - you'll be writing your own creative brief since you're creating spec and but once you get - out in the world and your copyrighting for clients or employers, - don't start a project without a creative brief, - because how can you write it if you don't know what you're actually writing about the first - part of the creative brief deals with objectives and in your resource is section of this - unit. - You'll find an actual creative, - brief template to work with. - But we're gonna break down the parts of it. - Here first is who is the target audience? - Who are you trying to get your matches message across to? - What is the benefit to them? - What are you actually what's in it for them? - Ah, - what's in the product that you're selling that actually is useful to them? - What do you want them to do? - What's that next step? - What's your call to action gonna be? - Do you want them to buy now? - Do you want them to go into the store? - Do you want them to sign up? - What's that next step? - Are there any secondary actions? - You want them to take notes? - Sometimes there some projects where if, - um, - the target audience, - it doesn't take that mangle. - If they don't buy now, - um, - the, - the project creator would be happy for them to take a secondary action like signing up for - a newsletter for your purposes. - For your spec. - Add we're not gonna add that a level complexity. - But I just want you to be aware that that could be in a creative brief and could be part of - your objectives. - And then, - of course, - what are the business objectives and how are those measured? - What is the business hoping to get out of this? - Are they hoping to get more sales? - Are they hoping to get more subscribers? - And how's that Could be measured. - Is it gonna be measured in revenue? - Is it going to be measured by number of new subscribers? - But the banner ad is it gonna be measured by clicks on and obviously again for your spec at - this won't be quite as crucial. - I want you to think about the business objectives a little bit, - but the measurements is obviously something you don't need to worry about right now. - And then, - of course, - what should the tone be? - It should always be within the brand voice. - But the brand voice brand voice hasn't flexibility within it. - Um, - sometimes a brand boys can be very straightforward. - Or sometimes it could be a little bit more friendly. - Or sometimes a brand voice can, - um, - be straight forward But it can also be urgent because it wants you to take action right now - . - So what's that tone that lies on top of the greater brand voice? - The second part of the creative brief deals of actual down and dirty tactics. - So what are the deliverables? - What do you actually expected to hand over at the end of the project? - Is it a an email? - Is it a Web? - Pages it something like that for our purposes and will go into this a little bit later on. - I'm just gonna have you create a magazine ad. - Um, - but that's what your deliverable will be. - And then, - of course, - if it is something a little bit more complicated, - like a banner ad or um or a web page, - you'd want to know the sizes. - And you also want to know the number of it orations. - If the people that were working with their planning on testing this, - they might want a couple of different versions. - This is where you find out that information. - Are there any mandatory elements? - Does there need to be a book now, - Button? - Does there need to be a company logo? - Does there need to be um, - a like us on Facebook button. - Um, - all of those kinds of things would count Is mandatory elements. - Has the company done something similar before? - So if you're sitting down in your in a kickoff for a project, - you want to know if there's some history on this project, - Have they tried something like this before? - And if so, - what did it look like? - What did it sound like? - And how did it perform that allows you to compare the work that you're doing now with work - that's been done before and obviously improve on it. - You also want to know if your competitors have done something similar. - If they are doing a similar product or a similar promotion or similar webpage, - you want to know what they're doing, - Number one so that you can improve on it and number two so that you don't copy step. - They've already done. - When you're writing in your concept ing, - and we'll come back to this again and again throughout the videos in the exercises, - you always want to refer back to your brief. - It has all of the answers you need. - And speaking of brief in the next video, - we're gonna talk about how, - exactly how you can write one 6. How to Write a Brief: - Unit two video to how to create a brief for your spec. - Can every ad needs to come from a creative brief. - We cover that a little bit perform going to re emphasize it here. - And that, - of course, - includes your spec ad. - In this case, - you're gonna play the role of the project manager and right up the creative brief yourself - before you do, - though, - you need to saseidx on the company and on the project you're gonna write about. - I strongly suggest that you choose a really life company, - and the reason for that is that it gives you some context to work with. - Fake companies mean that you have to first come up with a full brand identity and tone - before you can even start with your brief. - Working with a re a life company lets you research who they are and what their tone is, - and you have all kinds of things to reference their Web site, - their current ads. - If they have any commercials, - all of that's already there for you. - So again strongly recommend a real life company. - I also don't suggest using a nonprofit. - It's very tricky to convey the benefit to consumer of a nonprofit. - So at least for your first spec, - add strongly recommend a really life for profit company. - She was a company that you're familiar with. - If you already know a lot about it, - you are already ahead of the game. - It could be any kind of company, - but at the same time, - make sure that you won't be embarrassed to present an ad for them to a potential employer. - So a liquor ad or a Victoria Secret lingerie ad? - Um, - it might be fun for you to write, - but it also might be, - could be, - in certain circumstances, - a little embarrassing to actually present it depending, - of course, - on the potential employer. - So first, - you're gonna want to research this company, - visit their website and look at their about us page, - go through all of the pages, - read everything on them that you possibly confined on their website. - Then, - if applicable, - find catalogues, - but definitely find ads or any other type of collateral you can get your hands on. - You want to see how they write things, - what their brand voice is, - what their style of advertising is. - All of this is gonna help you translate it into your own personal stag at, - because the thing is is that you're creating a new ad, - but you're not creating a new company. - If the ash it seemed like it was produced by this riel company of part of what you're - trying to convey is that a company could hire you to come in and start work with them at - any time, - and you'd be able to jump in and say, - Yep, - I understand your brand voice. - I understand that you market. - Here's an ad for you, - So you want to make sure that you stay consistent with the work that the already doing. - You also want a research competitors so that you understand what makes the company that - you're working on different from their competitors. - You also want to make sure that you understand their target audience. - Who are you actually marketing to? - What are you? - What are you going to say that specifically going to resonate with this particular target - audience? - Then you want to decide on a product to write your at about. - Now I'll give you a little bit more leeway here. - It could be a riel or a fake product, - Aziz, - Long as you thought it all through. - And in the exercise, - I'll go into a little bit more depth about exactly what you need to think through as you - decide. - Ah, - really were fake product. - You also need to think about then, - whether it's a real or a fake product. - What problem does the product solve for the consumer? - How does it benefit the consumer? - How does it help them live their lives, - or at least make them happier? - Then you want to decide what kind of project you'll be writing for your first beck. - And and there you have a little bit of leeway. - I would very strongly recommend just doing a magazine or a newspaper ad. - The nice thing about magazine or newspaper ad is it's very straightforward and a direct - mail piece or brochure. - There could be all kinds of different layouts and in a banner ad there multiple frames and - all kinds of different constraints. - But with a magazine or newspaper ad, - it's again very straight for what it's flat one page and for purposes again strongly - recommend that you just stick with size 8.5 by 11. - That might not actually be the measurements for a magazine ad you'd be working on in real - life, - but it's easy to remember, - since its besides, - with standard piece of paper. - Now you want to go through and fill out your brief with all of the information you've - gathered and you come up with based on your company and based on the product and what the - product does for the consumer. - And, - of course, - your target audience. - Your consumer. - You may not have answers to some of the questions in the creative brief like how many - iterations are there, - although I guess in that case it would just be one. - And have our competitors said something similar, - you might not have been able to find anything similar, - and so you might not have an answer for them. - That's fine. - Just fill it as much as you can and be as thorough as you possibly can. - Take your time and fill it out carefully, - because if not, - it's kind of like having an incorrect map. - It will make getting to your desired end your excellent spec add very, - very difficult. - So when you're ready, - move on to your exercises and get started on that creative brief 7. Working With a Designer: - Unit three video one Working with a designer, - every ad or every piece of marketing or piece of advertising is comprised of both copy and - images, - which means, - of course, - you need a designer for your spec ad. - The collaboration between a copywriter and a designer could be absolutely magical. - Copy needs to support the design and design needs to support the copy, - and when it's done right, - it comes across as perfect. - Neither copy nor design could be regarded as more important than the other one. - Great advertising and marketing pieces come from collaboration, - and that means to that. - You should have some ideas for design, - and he or she your design partner, - should have some ideas for copy. - And especially as you get more and more into copyrighting, - you'll learn a little bit more about design and you'll be able to come up with good ideas - for design. - And your design partner probably has a lot of experience working with copywriters, - or at least some experience, - and so they'll probably also have some ideas for copy, - too. - And that's great. - You're gonna need to bring in storm your ideas for ads together, - which is called concept, - and that's coming up in the next unit, - and you need to work very closely together to put this put these ideas and copy and - designed together. - Ideally, - you should be revising work in front of the same screen so the two of you can evaluate the - ideas and the changes that you make in a real time, - actually sitting down next to each other, - looking at the same screen and making changes. - That is the absolute best possible way to collaborate on the job. - You will rarely get to choose the designer you work with. - So for your spec, - add, - Don't be too hasty. - Don't just pick the first designer that wants to work with you. - Pick someone who has a similar style is you do and who wants to work in your ad just as - hard as you do. - Make sure you pick a designer that is very similar to you in your style, - but also similar to you and your experience level, - and we'll go into exactly how to find that designer in the next video 8. Finding a Designer: - Unit three Video to finding a designer. - Now, - if you already have graphic designer friends that are willing to work on your spec ads with - you, - great. - You could skip this video unless you're curious as to how to find more graphic designer - friends. - If not, - though, - this video is all about your solution. - Here's the thing new designers need Spec adds Justus. - Muchas new copywriters dio. - So you just need to find a designer with a similar skill or experience. - Level is yours so you two can collaborate under spec cats. - Lincoln is a great resource for finding designers. - It's almost like Google for professionals, - and what I mean is that you can search by designers in your area. - Then you can check out their portfolios if they've posted images on their length and - profile, - or if they have posted the link to their online portfolios, - and you can message them if you like what you see in the exercises. - We go through more specific details about exactly how you can search and filter for - designers and what you can put in your messages. - But here I just want to give you the overview of exactly how you can do it. - You can also post a listing on the big section within the creative subsection on the - Craigslist for your city or metropolitan area. - Just let them contact you through the Craigslist email just to be safe. - Don't put your own email down there and don't put uM, - don't put your phone number on, - I should say, - for all of these methods of meeting new people of meeting graphic designers just, - of course, - be sure to exercise caution. - Most people out there are good people, - as you know, - but of course, - you always want to put your personal safety before anything else. - You can also contact a local design school and see if they have a listing board, - whether it's an online or physical listing board. - The thing about local design schools is you have students who are looking to move into the - professional realm very shortly, - and so who are actively looking to build their portfolios and actively looking to create - spec ads so a student of the design school could be perfect for you. - It can be just a little bit harder to get in touch with, - though, - especially if you have to go through a listing board of the office that you get in touch - with may also already know of students who are actively looking to build their portfolios - and can put you in touch with them. - Most importantly, - though, - get the word out. - You never know which of your contacts family or friends may know a designer that is willing - to partner with you. - It's always a good thing to build your portfolio with new ads, - so you'll find that a lot of designers are open to working with you. - So when you're right, - move on to your exercises and find yourself a design partner. 9. The Art of Concepting: - unit for video one. - The art of concept ing concept ing is essentially brainstorming different concepts or ideas - for your ad. - This is your time to really explore the full range of what's possible and what could be - possible in your add all of the possible ways that you could convey your message. - You should be contacting with your design partner Concepts need to incorporate both ideas - for what you'll do with the copy and what you'll do with the design, - so you obviously can't come up with that. - If you're working separately, - refer back to your creative brief as you concept. - This is gonna help you room to remember key parts of the brief and help them help you to - incorporate them into your concept. - Ng Who is your target audience? - What do they most need to hear about this product or the service? - And you're gonna want to explore the different ways you can get this message across, - come up with an out their way of conveying it, - a safe way of conveying. - It's a funny way of conveying this message. - A serious way is many different directions, - as you can possibly think of to convey this message this benefit in all the supporting - information to your target audience. - What words would your brand use to convey the benefit? - What images? - What they use. - This is all the kind of thing that you want to keep in mind as you're brainstorming for - these concepts. - And then, - on the other hand, - what images and words with the target audience expect to see now. - You might not necessarily want to use at least the images that they expect to see, - but you want at least have some idea of what they're expecting so that you can either go in - that direction or go in the exact opposite direction for a little bit of a surprise. - So, - to that end, - what images in words with the target audience not expect to see. - You should be concept ing for at least an hour, - and probably too, - it takes a while to come up with great ideas, - no matter your level of copyright expertise. - Once you're done concept ing polite, - your favorites, - the ones that really make you the most excited and compare them to the brief. - Are they on Brand? - Do they convey the benefit? - Are they going to resonate with your target audience and again in the exercise, - I go into a little bit more depth in detail, - with more questions to ask on and more ideas for concept ing. - But I want to give you the overview in the video. - Then, - once you've gone through all of your concepts and you've compared them to the brief and - thought about them, - pick the one that does all of the above the best. - That's what you're gonna base your spec at on. 10. Turning Concept into Copy: - Unit five Video one. - Turning a concept into copy When you're done, - concept ing you and your design partner will split up for a bit. - You'll work on the copy while he or she is working on the layup. - Then, - of course, - you get back together afterwards. - We'll get up to that in a second. - This is kind of a quick overview of how the price of the process of writing copy works. - Obviously, - we get much more in depth, - and if this were a more in depth training, - absolutely would. - But I want to make sure that you have the face of fundamentals so you can get right to work - on your spec at Start Out. - By organizing the messages you need to convey what's the most important message. - And then what's next important and what's last. - Your headline should convey your benefits, - and again your benefit is spelled out for you. - Or I should say you spelled it up for yourself in your creative brief. - Now ask yourself if you need a subhead to further support it or ADM or information. - Do you need any body copy to add more details and then ask yourself, - What's your call to action when it comes to copyrighting their two very important rules. - Number one, - keep it as concise as possible. - Don't force people to read more than they need to because they won't They're just going to - flip pastor, - add, - or they're gonna click off it or in some way, - shape or form. - They're going to ignore your ad, - and you don't want that to happen. - Happen. - So keep it short and the number two There needs to be a reason for every single word you - use seriously, - a reason behind every single word. - As a copyrighting professional, - you have pressured professional words are your tools, - and you don't just, - well, - them haphazardly. - You have a very specific use and reason for each one that you put into an ad. - If you find this process challenging, - you're doing it right. - Good copyrighting is not easy. - Challenge should stretch your abilities, - but it should also be fun when you're ready. - Had on that next video, - we'll talk a little bit about editing and revising the copy that you're writing 11. Editing and Revising: - Unit five Video to editing and revising your copy. - Once you've got your copy, - Doc, - in a good place, - go back to the briefing. - Make sure it covers everything you need to. - Is the benefit in there? - Is it clearly conveyed? - How's your brand voice? - Does it sound like the company that you're writing for? - Do you have a CT? - A. - In there, - and is it a strong one? - And have you written to your target audience, - Then go back and get ruthless. - Remove anything that isn't absolutely necessary. - Beware of words for the sake of words. - And also, - just because you think something's clever doesn't necessarily mean that it's in their Read - it through and make sure that it serves a purpose again. - Don't be afraid to get a ruthless also bear in mind that everything looks shorter in a word - document than it doesn't lay out. - So you definitely want a preemptively trim even before you get to the layup. - Then, - once you've done your trimming, - send it over to designer so that he or she can put it into the computer layup. - Once here she does, - it's time to sit together in front of the computer screen This is your opportunity to look - at it together and collaborate again. - When you're together, - you want to evaluate how the copying the design work together, - and you need to ask yourself if there's too much copy. - It can be a little hard to be objective, - since you've been working on it so hard, - but do your best to be. - Nobody wants to see too much copy. - It's just gonna ruin your ad. - And does the layout give the right message? - The right importance is the benefit, - the most important thing, - and the first thing that you did you notice. - And then visually within that hierarchy, - does the message descend? - Also do the images in the copy makes sense together together. - You remember that I told you that creative brief was golden and I was not kidding. - Here is an opportunity to pollute your creative brief again. - You're going to refer back to it again and again and again to make sure that your ad is - delivering on everything it needs to deliver on. - The reason that you evaluate in front of the computer you and your designer together is so - you can make changes and immediately see how they look in layout, - please know you will have to change Copy a bit from your copy, - Doc, - you just can't possibly anticipate every nuance of the layout. - Um, - and you can change it immediately. - In that moment, - you can let your designer know if you need a little bit more time, - but you're gonna want to make those changes together in front of a computer so you can see - how those changes affect the full layout. - And as your designer makes tweaks to the layout, - you want to be able to see how those changes affect your copy, - and you and she or he can work together and make those adjustments in real time. - He provides ing this ad until you're both thrilled with it, - and it completely covers off on everything in the brief. - Copyrighting involves a lot of revising, - which, - by the way, - includes a lot after you show it to your client or boss. - A lot of people are surprised at how much feedback they got A on a project, - especially in a on a project in a kickoff where there are a lot of people who have to give - input on this project. - A lot of people who are stakeholders, - they will all have be back to give you. - And it's all very constructive feedback, - but you'll be getting a lot of feedback, - so try not to get too married to your project. - In this case. - Obviously your revising ends when you and your designer are happy with it, - though the neat thing about copyrighting is it's a collaborative field, - and it's a really fun one. 12. Describing Your Solution: - Unit five, - Video three Describing your solution. - So when you present this ad to a potential client or employer, - or when he or she sees it in your portfolio, - it needs to have some kind of context. - People who may hire you need to understand why you created the ad you did and why you wrote - it the way that you did and why you made the creative choices that you did. - Every ad essentially solves a problem for a client. - The client wants more email subscribers that they want to introduce a new product or they - want to break into in market something along those lines. - They have a problem that they need to add to solve your ad. - Is that solution to the problem now granted in this scenario? - This is a problem that you imagined, - but it's still a problem that you've solved. - So you want to write up one or two sentence description of that problem, - explain exactly what was going on in the business scenario that you created and put into - your creative brief what problem, - and again I understand that's a big problem. - But what problem did you sell for this company then, - right up a few sentences to describe how you solve the problem of what was your thought - processes, - you wrote? - How does your copy convey the message? - How does your copy resonate with the target audience giveth. - Um Ah. - Look inside your brain when you created this ad and when you concept of this ad and when - you wrote this out, - show them the insight that you brought to this piece. - It doesn't have to be any longer than a paragraph. - Um, - keep it concise, - just like the rest of your copyrighting. - Even someone is interested in hiring. - You doesn't want to read a ton of copy, - but it should demonstrate anyone who reads it that you understand the process of copyright - and how to execute to a strategy I should say to that You're gonna want to save this for - use in your portfolio and give a copy to your graphic designer for his or her portfolio. - Um, - when you put it in your portfolio and when you show it Teoh potential employers or - potential clients do be sure that to mark that it's a speck at um, - If you don't work that it's a speck ad, - it will seem as if you worked for the company that you are writing for when you really - didn't, - and that's just a little bit disingenuous. - And, - as you know from earlier videos, - spec ads are very common, - so it's not going to harm your portfolio or harmless. - Add it all by marking a suspect can just be sure to do that. - And when you're ready, - move on to our last video with your next steps of the copyrighting process. 13. Your Next Steps: - Unit five video for the last video in this course, - your next steps. - So this course has been just a little taste of what it's like to write. - Copy. - Uh, - copyrighting is interesting. - Collaborative work that could be as flexible as you need it to be. - You can work freelance. - Um, - not on staffing from home contract, - which is not on staff but also in an office for a company. - Or you could work on staff for a company. - You can also back pocket, - um, - which is essentially doing it part time, - having a skilled profession in your back pocket for when you need extra money or one. - You want a transition to something new and you could do all of this for agencies for in - house creative teams or for individual clients. - So, - as you can see, - there's a lot of flexibility to copyrighting. - You get to collaborate with creative people. - You get to work on writing that you see out in the world on websites or unprintable ads. - You're flipping through magazines or, - um, - ads that you see on billboards all kinds of exciting things like that. - There are your words at where everyone can see them and you get to help people find the - right products, - services, - people or companies for them. - And not incidentally, - you can also make a good living at it. - But as you can imagine, - all of this is just the tip of the iceberg. - There are all kinds of elements that we've yet to touch on Atmore of the copyrighting - tactics, - writing for different media, - like banner ads and emails and retargeting ads and direct mail brochures and sales. - Let us all kinds of stuff. - We haven't even had a chance to talk about presenting your work, - navigating industry and all of that other stuff. - So if you want to keep going with copyrighting, - if this course is interested in you and you've, - um liked what you've done in life, - would you seen here is your to do list. - Get training. - You need to learn all of the stuff that we just talked about on that last on that last page - . - Everything about navigating the industry and more of the tactics and all that kind of stuff - . - Get yourself trained. - Then, - of course, - you want to keep creating more spec ads and four different types of media in your training - , - you learn how to write for that and so you can go ahead and create more spec ads. - But what this course has given you is, - of course, - a template for creating the spec adds, - so you can go back and create as many as you like. - You're also gonna want to put together online and print portfolios so that you can show off - your work to prospective employers. - And those online and print portfolios can even represent you when you're not there or - before they've met you. - You want to be sure to meet industry contacts through the industry in every city is a lot - smaller than you would expect it to be, - but creatives that you know will know a lot of the other creatives that you will eventually - meet. - You want to start making those contacts as soon as possible, - and then you want to pick up small business clients to help you build your portfolio. - And they'll also, - of course, - pay you, - which is always nice. - It can seem like a lot, - but they're in mind. - Anything new requires some learning and some hustle to get results. - Anything that you're doing now, - you had to learn and you had to practice on. - The same thing goes for copyrighting. - So my last message to you is thanks so much for taking this course. - Good work and good luck.