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A Perspective on Marketing by Harendra Kapur
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“This one’s for all the suckers who still believe in love.”
Story
Minimalism
Cut!
6 steps to story
Identity
Awesome
Device
Originality: The Curse
Epilogue
Prologue
Give a sh*t
Idiots
1 on 1
Contagions
6
8
14
20
24
28
38
40
42
44
46
48
52
56
Breaking Old Habits Establishing new ones
76
This book has been written and designed for several reasons.
Some arrogant and self serving - some wishful and idealistic.
But the belief that this book should exist within the vast narrative of
creativity, is based on a series of observations.
The bulk of my experience of marketing and creativity is as a student.
As a student of Mass Media.
As a student of corporate machineries.
As a student of Graphic Design.
But more significantly, as a student of people and what makes them
tick.
This book starts out as observations ond learnings that relate strictly
to advertising.
It ends as observations on living happier, healthier, motivated lives.
This book exists, above all, to help bring brands and the
creatives charged with communicating for them away from
the context of business, and into
TheContextofHumanity.
98
GIVEASH*T
and you’ll always get one backAt that point you better be certain the other guy’s giving of a shit is
duly rewarded.
It’s easy to forget with all the jargon and agency infighting that we put
ourselves through every day, but at the end of the day what all of us
are paid to do, is have conversations.
Most of our conversations are forced on the listener and that makes it
even more important that we remember this.
When you’re communicating with someone else, do so as a human.
1110
Every time you’re writing a line of copy, or drawing a logo
you’re basically hitting on someone.
They came to this club to have a good time.
Are you sure you want to be the dickhead
screaming in her ear and groping at her ass?
The nicest thing you can do for anybody,
audience, friend, foe or shopkeeper?
Just give a shit.
“B*tches, right? Always complaining we don’t listen and sh*t,”
said the idiot.
Either you aren’t listening, or you haven’t conveyed the fact that you
are listening very well.
But your relationship with anyone can only work if you suck it up and
listen to what they’re saying.
Fight your instinctual presumptions,
and listen to every tiny detail you would have missed if you didn’t.
Your lack of a sh*t given is always going to shine through if you don’t.
LISTEN!
1312
Whether you’re presenting a project in a classroom, or you’re
responding to a brief, you can only communicate successfully if you do
so in response.
In response to a new market trend,
In response to the girl at the back yawning.
But the second you lose interest in a conversation with another person,
you’ve willingly left the interaction.
Good luck communicating when that happens.
1514
Did they watch that piece of sh*t video and not yours?
Are they not coming to your amazingly designed website?
Don’t they get that this is good design and that is bad design?
There is a tendency, conscious and subconscious,
to think of our audiences as ill informed or stupid.
Most audiences aren’t as smart as your average creative, right?
IDIOTS!
TheOnus of
Communicationis on
The Sender.
(Hint:That’s you.)
1716
You come into work every day struggling with all sorts of sh*t.
You are at any given point hungover, clinically depressed, generally
irritable, sick or mad at some c*nt in the office.
Now you’re going to spend hours fixating on the tiniest of details that
even your creative director won’t notice.
And you’re doing it all for a f*cking client.
Everything you do is done to look like it’s by your client.
But everything you do is for your audience.
You live to serve them. They live to live their own f*cking lives.
Everyone is the center of their own universe.
But you, dear reader, have picked a job where you need to become the
center of someone else’s.
WRONG!
1918
“Your 30 second cameo appearance between
the TV show I’m going to watch this Saturday is
a privilege I have afforded you.
You have interrupted my life to sell me
a box of tissues.”
Make it good, ad man. Make it real good.
2120
When News anchors go to work every day, they do so knowing that
they’re going to end their day talking to millions of people.
That’s a lot of responsibility. Millions of people = millions of variables.
What if they only hear one part of it? What if they’re busy doing
something else? What if they misunderstand my elaborately long yet
perfectly balanced sentence?
What if, they just aren’t that into it?
The difference between a good news anchor and a bad news anchor
lies in the response to the following question:
“How many people will you be talking to tonight?”
A bad news anchor will calculate the show’s average viewing
audience and factor in a few variables to reach a well thought out
answer.
A good news anchor will answer:
“One.”
2322
It is the inherent contradiction at the base of all mass communication.
You create something so that millions will view it.
But every single time someone sees what you’ve done, they do so
alone. They do so in a place that only they know.
It is intimate and it is personal.
When someone’s eyes scan a magazine page in that F pattern they
taught you in school, they’re making a decision about commitment.
If they decide the page is adequately attractive, they’ll let you in to their
home. Once you’re in, you had better be worth the faith that’s been put
in you.
So the next time you’re crafting this moment, think about what you’re
doing.
Are you wasting their time? Are you being a bit of a d*ckhead? Can
you look them straight in the eye and tell them this was worth the
minute and a half they invested?
Don’t be fake. Don’t talk to them like they’re a part of some
demographic.
Don’t be loud. And certainly don’t shout.
Talk. Softly. Calmly. Warmly. Proudly. Even excitedly.
But talk. is for “F*ck yes!”
2524
A few years ago
in the dark, dingy corner
of a dark, dingy bar
on a dark dingy street
in Mumbai, India,
a group of ad men were drinking after a long week of briefs, clients
and deadlines.
They were talking, as all drunken ad men inevitably do, about the
mysteries of life, love and of course - great advertising.
“What makes something viral?” one of them wondered despairingly.
Slurred but certain everyone pitched in with an answer.
“Cats!”
“Tits!”
It was at this moment that one of them understood a deep and all
encompassing rule about human interaction.
What is Viral?
“Things go viralif they make me
feel coolfor sharing them
with you.”
Varun Joshua
2726
The undeniable truth about all human beings is that everything they
do, they do for their own benefit.
If you give a homeless person money, you do so within your own
selfish world view of how things ought to be.
It doesn’t mean you’re a good person and it doesn’t mean you’re a bad
person.
It means that you, like every other living organism on the planet, exist
eternally as a response to your own survival.
When you create something and you want it to go viral, you are hoping
for not one but TWO responses from the viewer.
1. They like the content.
2. They think it’s worth sharing.
The goal is for millions of views, but you can only achieve that by
targeting single responses. Millions of single responses.
2928
Anyone writing a book about the sh*t I’ve written eventually reaches a
point where they have to say something vague about emotions.
The problem is emotions, being personal and volatile, are always hard
to target.
Emotions are essentially the consequence of what we do.
What we do, is
STORY
3130
In a broad sense, you could say the world consists of two kinds of
people:
Those who started asking “Why?” and eventually stop in the interest of
living their lives.
And those who never quite stop asking “Why?”
I am uninhibitedly a member of group no. 2.
But regardless of whether you ask the question or not, I think every
single one of us has accepted at some level, that we do not know.
So what do we do?
We eat. We sleep. We f*ck.
We create.
Like characters in a film that has no apparent plot, we move on and we
start establishing our own stories.
“I’m going to marry her.”
“I quit.”
“Dude we should totally get hammered tonight!”
But every so often, we find our own stories just aren’t enough. They’re
either too stressful, too tiring or just too damn real.
.
So, we put the TV on and wonder if Sherlock Holmes is going to find
the killer.
Thisis the
Human Condition
3332
Our job is to tell stories.
“That shoe shop on main street is running a sale for one day only.”
That’s our story to tell.
And we’ve got teams of media planners who’ve figured out just the
right time to make sure all the ladies in the city hear us tell that story.
But in the context of the human condition there’s one truth we cannot,
ever, afford to forget. Yet almost always do
The second we start telling our story, it becomes a part of the blur and
chaos of our audience’s story.
You aren’t competing with all the other shoe shops any more.
You’re competing with Sherlock Holmes, her kid’s incessant yelling,
and in all likelihood a husband who’s inexplicably horny for a Thursday
night.
3534
So how do you get her attention then?
You give her a story that matters to her.
You find the things that matter to her in your story.
Maybe it’s just a good deal on shoes.
Maybe you realize that in a world where she feels like she’s carrying
everyone on her shoulders, she can always trust her shoes to carry
her.
You tell her a story worth finishing
3736
There is an eternal war between copywriters and designers. The most
obvious venue for this war is the office of any magazine publication.
A designer likes a big white page with a small, subtle piece of art at
the center of it.
A copywriter likes a big white page too. But the copywriter wants to fill
it with incredibly moving words that you can read over and over again
so you don’t ever get sad.
In the context of the story, who wins?
Designing is the creation of situations and settings. They build the
mood and deal with a great deal of data that the viewer only decodes
at a very subconscious level. The curve of a font and the balance of
a layout are subtle details that illicit even subtler reactions from an
audience.
Copywriting involves the creation of concepts using language. In
describing the abstraction of our reality, language is a code that comes
with many embedded values. The juxtaposition of words in a sentence
and a sentence in a book gravely influence an audience’s reaction to
an idea.
3938
In the context of the story, it is imperative that the communication is
done considering an over played yet undervalued ideology:
Essentially, the principles of Minimalism dictate the removal of all
elements that are unnecessary to the telling of the story.
This implies a ruthlessness on the part of both the writer and the
designer.
It forces you to realize that every element is only as valuable as the
function it provides.
Designers will remove the shapes in their logo that don’t deserve to
pollute what someone’s looking at.
Writers will remove any copy that doesn’t reveal useful information
about the character or move the plot forward.
Your audience’s imagination fills in the rest.
Minimalism
4140
Simply put, a story is a sequence of events.
And since everything that has ever happened is a sequence of events,
everything is a story.
But that one giant story can’t possibly be understood or told all at once.
So instead of seeing the one big sequence, we focus on the singular
consequences.
Things happen because of other things that have happened.
We select a core story and title the story it comes from as ‘context’.
In any sequence of events there is a near infinite number of sub plots
and thoughts to be explored.
It is after the exploration of all of them that we must become ruthless
and begin editing.
Every story has to serve a purpose. In reference to that purpose we
have to choose which moments really matter and which moments
really don’t.
Which events in this story will make the punchline better?
Which events in this story will only dilute its significance?
Which elements of these events are better imagined than explained?
Why did he choose the field?
Where should he sit?
What does he want to see?
Maybe the tree was fine until he
showed up. Maybe the tree throws
the apple at him.
Maybe two birds are
consummating an illicit affair in
the tree. Maybe the collision of
passions and frustrations was so
strong that the apple shook loose.
“The apple knew his time had
come. So he felt the wind against
his skin and silently accepted his
fate, hoping against hope, that
in his death, a greater purpose
would be served.”
As the apple hit his head, it
confirmed what he’d always
known:
Everyone hated him.
And gravity totally exists.
Why?
Our story Our context
Our purpose
Cut! Man goes to field
A Man goes to a field. He fought with his wife.
Man sits under tree
“Ahh...”
Apple falls from treeApple hits man’s head
4342
Identify the characters Identify the devicesIdentify the values EditIdentify the arc Finish
Consider everyone.
The retailer, the manager, the
consumer and even the brand
itself.
If your character is abstract think
of an analogy or metaphor that
works.
Vodafone have used a pug to
depict themselves and the impact
was huge.
Remember: when you pick a
character you pick a personality.
You pick a tone and a mood that
should carry the communication.
Consider where and when your
consumer is going to have this
conversation with you.
Did they find your story? Or did
your story find them?
Consider all the possible devices
at this moment of contact.
Is there a technology that will
make the story hit home harder?
Or is the story best served
simple?
Again, list them all out.
Consider everything.
Maybe it’s just a great offer from
a brand everyone knows.
Maybe it’s got a deeper emotional
significance.
Comb through the contents of
the brief and find anything of any
value to anyone.
It sounds difficult with certain
briefs but remember your brand
is doing things with an aim for
profit.
They aren’t f*cking around.
Find the most logical values, and
take it from there.
Pick your strongest candidates
from the first 4 steps.
Is every single element
necessary?
Does each element serve a
function on its own and as a part
of your story?
If the story’s being told in a way
that’s a little dull, consider re-
arranging the elements so the
important ones do their job better.
You know, end at the start and
start at the end, etc.
Again, consider all possible forms
of the story.
From the straight forward:
‘A 20 year old pizza brand has put
up a contest.’
To the inventive:
‘Señor Pizza’s looking for a new
best friend.’
List them out. Even the sh*t ones.
Put every single skill, technique
and magic trick you’ve ever
learned to use.
Do it in the spirit of your story
and do it like your job’s on the
f*cking line.
Keep in mind the personality of
your characters, though. Too often
communication shoots itself in
the foot for superficial reasons.
Your personal feelings of style
may have gotten you this far, but
you are an agent of a brand right
now.
Give them what they want.
6 steps to story:
4544
When you’re telling a story, it is said, it’s imperative that you raise
questions and answer them.
This keeps whoever’s listening interested.
Is the murderer in the same house? Where is he right now?
Will the character have to die and what does that do to
the plot?
In the context of our own lives, as people
trying to tell stories, it’s extremely important
that we raise questions about the story
that ultimately matters most:
The story of our own lives.
What is this story?
Who’s directing it?
Who’s starring in it?
Why should this story matter at all?
Who should it matter to?
There’s an awful lot of pressure on us to be certain types of people in
today’s world.
Everyone wants to be the person they’ll be for the rest of
their lives ASAP.
But rather than forcing ourselves to establish
a whole set of characteristics and
unimpeachable rules wouldn’t it be easier
and more consistent to simply establish
a mission?
To find a mission that
enables all the values we
individually believe in.
But then what are our values?
Honesty and helpfulness? Success
and excellence?
Knowing what these values are helps us know
what our mission is,
which helps us know what our story is,
which lets us know what our role is,
which helps us know how we’d like to respond to the other
people in our lives,
which helps us know why our story matters.
Its hard to think about these kinds of things. For every pressure to act
like you have a set of values you believe in, there’s as much pressure
to never talk about them.
But for our own sanity, for our own bigger picture, it’s necessary that
we find this mission- the mystical “reason to wake up in the morning.”
And when you do find that reason, whatever it may be, make sure you
believe in it with every fibre of your being.
That’s not to say be passionate about it. In fact, it is to say be
particularly analytical about it until your love for it is matched only by
your conviction of it.
It may take years, but once you’re comfortable in the story you live and
the motivations behind it, you’ll find it much easier to spot the value in
other stories.
You’ll find it much easier to appreciate other characters.
You’ll find it much easier to handle everything.
4746
Advertisers have a pretty bad reputation. And deservedly so.
The average ad agency isn’t exactly a bastion of values and good faith.
Instead, most of the stories around us are usually closer to spy films
full of intrigue and deceit. Except our versions are a whole lot less sexy
and often times a whole lot more dramatic.
If we aren’t worrying about our own team mates and bosses, we’re
worrying about some client and not losing our sh*t with him if and
when he makes some inane demand for the Nth time.
There’s also of course the intense pressure of hoping you’ll still be
creative tomorrow morning, ridiculous though the fear may be.
Lost in all of this, is the pursuit of excellence.
When you’re always looking over your shoulder you lose sight of why
you’re doing the things you do.
SURROUND YOURSELF WITH AWESOMEIf we accept our role as purveyors of stories, we have to accept that
stories have a certain impact.
What is that impact though?
From experience we know it’s never as straight forward as “Oo! I
should buy that candy.”
Almost always the impact is a deeper and subtler one.
So if we know that Nike’s tagline can inspire us, why aren’t we
perpetually inspired?
As storytellers we’re in the incredible position of constantly analysing
motivations and reactions.
We know that simply exposing ourselves to amazing things, can inspire
us to do amazing things.
Consider the shows you watch or the books you read. Even if they’re
just ‘guilty pleasures’ of no creative merit, what attracts you to them?
As creatives we tend to consider ourselves our own little guinea pigs.
So consider this an experiment.
For one week seek incredible success.
Watch a Win! compilation on youtube and an episode of Nitro Circus.
Ensure that at every moment you can, you only search for stories of
positivity.
The most successful people surround themselves with stories of
success.
Surround yourself with awesome, and awesome you shall reap.
4948
DEVICEWhen coming up with ideas, creative or otherwise, we tend to think in
terms of device.
Clients will often tell you they have a new campaign they’re considering
and they’d like a video produced for it.
But when you’re planning a holiday, you don’t think to yourself:
“I want to travel by plane. Where should I go?”
The tool,
medium or
system used
to tell a story.
You can make an app that uses GPS to highlight every participant’s phones while they run in shoes that leave a trail on a Google Map with hidden digital clues that can only be cracked by scanning QR codes that activate an amazing 3D drawing tool using augmented reality so that you can send highly customized videos to all your friends on Facebook as long as you tweet the brand’s tagline and play a game in your web browser’s URL bar and when you win it you go to an amazing Youtube page that starts to explode every time you click on a text box that lets you type in any command and the dancing panda will do it while holding up a sign board that uses data we got from that Flash mob the demographic was invited to which counted footfalls until we reached a 1000 and then our incredible interactive banner on the Yahoo! homepage starts changing all the news headlines to your friends’ statuses while your phone’s wallpaper becomes a collage of all the pictures of you on Instagram but when you zoom out its actually one of those mosaic image portraits and in the end you get an email that says with this digital voucher you can redeem a plate of garlic bread from any of our retail outlets for FREE!
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50
We live in an amazing age of technology where new interactions are
thought up and realised almost daily.
When people remember the amazing device you used to tell your story
rather than the story itself, you f*cked up.
How many amazing interactions have you watched but can’t for the life
of you remember who the interaction was made for?
If the device is incredible and it aids the telling of your story you’ve
succeeded.
Your goal isn’t to show people good technology. It’s to tell a paid
sponsor’s message in a memorable and meaningful way.
If on the other hand you’re aware your story isn’t the most interesting
story in the world, you’re in luck.
You can take the most boring context of reading a magazine at the
barber shop and turn it into an interactive masterpiece using fairly
simple mobile technology.
Just make sure your logo’s really big.
Even the bestidea needs
to have a point
5352
F*ck originality. Chase Ideas.
We know it’s just a tiny connection between otherwise unrelated elements of a story that comes often inexplicably and unexpectedly.
When you do the kind of job we do, there’s a great deal of pressure on
us to produce ‘ideas.’
But we don’t know where they come from.
Sometimes it comes to us in the shower.
Sometimes it comes to us after hours of racking our brains.
Sometimes it doesn’t come to us at all.
To people who don’t do the creative work we do, it sometimes appears
to be a gift, a divinely sent blessing and purpose.
But we know it’s not.
So what do we do?
We minimize risk. We study every corner of the story presented to us
as a brief. We leave no stone unturned and along the way a spark flies.
The only way to come close to constantly guaranteeing good work is
the often unappreciated:
Hard work.
Lots of it. Produce as many ideas as is humanly possible. The more
bad ideas you produce the more you realize why and the more you
realize why the likelier you are to produce a good idea.
But that’s still not going to give you original work.
That most mystical of all things creative: the ‘original’ idea.
The secret?
There’s no such thing.
Everything you do from how you lay a page out, to how you frame a
sentence is unoriginal.
The fallacy lies in believing that this is somehow a bad thing.
Seeking a good idea is like seeking a unicorn.
The end result is made to basically satisfy your ego without actually
focusing on any functional value in the final result.
Chasing originality for the sake of originality is a pointless, maddening
road to take.
The only originality you can count on is in the specific sequence of
events that have now resulted in you recieving a brief.
No two stories are the same. Find what makes your story matter.
That’s what you’re paid to do.
5554
“As beautiful as Johnny the Unicorn was, he never did win any of his races.”
5756
Let’s be If you’re reading this book at least two of the following holds true:
1) You do/can eat something delicious every day.
2) You do/can drink as much alcohol as is necessary for you to want to
go back home and sleep on a bed.
3) You smoke/roll/boom/blaze/puff/toke/tap/drag/hit cigarettes and/or
better sh*t.
4) You can/did buy a book that talks about advertising like it really
matters.
5) You drink water whenever the hell you feel like it and usually get
baffled when you can’t.
F R A N K
5958
You’re comfortable.
As much as we love complaining about all the things that make our
lives a pain in the ass (and let’s face it, we do), we’re good.
We have reasonably stable lives and we’re in a position to do genuinely
interesting work.
The joy of seeing our work printed or live is something no accountant
will ever really know.
When we do our work well, we can make someone else’s sh*tty day, a
little less sh*t.
Hell, we even get paid sometimes.
Your work is a gift. You have the power to alter someone else’s
consciousness.
And there are teams of people dedicated to making sure it gets seen
by thousands and thousands of people.
Make it good, ad man. Make it real good.
Credit where it’s due.
And Happy Birthday Romit.
What happens when a copywriter tries to study graphic design?
He writes his first book. In Helvetica.
This book is a student’s perception of what modern day advertising is and should be. It is an honest attempt to make creatives appreciate the gravity of their roles in the lives of their audiences.
Above all, it’s about learning to love stories and the impact they can have on brands, creatives and audiences.
