Ogilvy on Advertising

Ogilvy on Advertising Plot Summary

Introduction

In the fast-paced world of marketing and communications, few forces have the power to transform businesses, shape public perception, and drive consumer behavior like advertising. Yet creating truly effective advertising remains an elusive art for many - a curious blend of psychology, creativity, and strategic thinking that separates campaigns that merely exist from those that genuinely resonate and drive results. The difference between mediocre and exceptional advertising isn't subtle - it's dramatic and measurable. One advertisement might generate nineteen times more sales than another occupying the same space in the same publication. The stakes are high, and the potential rewards even higher. Throughout these pages, you'll discover time-tested principles and innovative approaches that have consistently produced advertising that doesn't just communicate, but genuinely sells. Whether you're a seasoned marketing professional or just beginning your journey in this fascinating field, these insights will equip you with the knowledge to create advertising that stands the test of time and delivers lasting impact.

Chapter 1: Master the Art of Research Before Creation

The foundation of powerful advertising isn't found in a sudden creative inspiration, but in thorough, methodical research. When you understand a product intimately, you position yourself to discover the compelling story that will resonate with consumers. This isn't merely about gathering facts - it's about immersing yourself completely in the world of the product you're promoting. David Ogilvy demonstrated this principle perfectly when handling the Rolls-Royce account. Rather than immediately drafting headlines or sketching concepts, he spent three weeks studying everything about the car. This deep immersion led him to discover a remarkable statement in the technical materials: "At sixty miles an hour, the loudest noise comes from the electric clock." This became one of the most famous headlines in advertising history, followed by 607 words of factual copy that sent sales soaring. The advertisement worked because it communicated authentic quality in a specific, credible way - something only possible because of Ogilvy's comprehensive research. Similarly, when tasked with advertising Mercedes-Benz, Ogilvy's team spent three weeks at the company headquarters in Stuttgart, recording interviews with engineers. From these conversations emerged a campaign of detailed, factual advertisements that increased Mercedes sales in the United States from 10,000 cars annually to 40,000. The pattern repeated with other products - from Good Luck margarine to Shell gasoline, where research revealed that gasoline contains Platformate, which increases mileage, becoming a central selling point. The research process should be comprehensive, examining not just the product itself but also competitor advertising, consumer attitudes, and language patterns. Speaking with even a small sample of potential customers can reveal invaluable insights about their needs, desires, and the vocabulary they use when discussing the product category. This information becomes the raw material from which compelling advertising is crafted. Effective research also helps determine the optimal positioning for a product - defining what it does and who it's for. When positioning Dove, Ogilvy chose to present it as a toilet bar for women with dry skin rather than a detergent bar for men with dirty hands. This decision, informed by research, created a distinct identity that has remained effective for decades. Remember that while research may seem tedious compared to the creative process, there is simply no substitute for it. The most brilliant creative execution will fail if built upon a faulty understanding of the product or its audience. Start with thorough research, and you'll find that big ideas flow more naturally and connect more powerfully with your target market.

Chapter 2: Craft Headlines That Command Attention

The headline of your advertisement carries a burden few other elements in marketing must bear - it alone will determine whether your entire message succeeds or fails. Research shows that five times as many people read headlines as read body copy, meaning if your headline doesn't sell, you've effectively wasted 90% of your advertising investment. Mastering headline creation isn't optional - it's essential for advertising that works. One of the most powerful approaches is crafting headlines that promise a specific benefit to readers. When examining successful advertisements, you'll notice how the best headlines telegraph exactly what the product will do for the consumer - whether it's delivering a whiter wash, more miles per gallon, freedom from pimples, or fewer cavities. This direct approach cuts through the noise and immediately answers the consumer's most important question: "What's in it for me?" Headlines containing news consistently outperform other types. In fact, ads with news elements are recalled by 22% more people than those without. When Ogilvy was advertising Schweppes, he introduced Commander Whitehead as their "Man from Schweppes," creating news about the brand. This campaign ran successfully for 18 years on a modest budget. The news doesn't necessarily have to be about a new product - it can announce improvements to existing products or new applications for familiar ones, like serving Campbell's Soup on ice. For specialized products with niche audiences, use headlines that immediately flag down your specific target. If you're advertising asthma medication, including "asthma" in your headline ensures you capture the attention of precisely the people who need your product. Similarly, headlines targeting "bedwetters" or "women over thirty-five" immediately signal relevance to those specific groups. When it comes to length, research shows that longer headlines generally sell more merchandise than shorter ones. This contradicts what many instinctively believe, but the evidence is clear. However, specificity matters more than length. When research revealed that shoppers thought Sears made a 37% profit on sales, Ogilvy headlined an advertisement "Sears makes a profit of 5%" - a specific fact that proved more persuasive than any vague generality. Interestingly, putting headlines in quotes increases recall by an average of 28%. And for local newspaper advertising, including the name of the city in your headline generates better results because people are naturally most interested in what's happening where they live. Each of these techniques represents an opportunity to make your headline work harder and deliver greater impact. Remember that your headline must compete with hundreds of others for attention. Avoid tricky wordplay, puns, or obscure references that may seem clever but fail to communicate clearly. Your headline should telegraph exactly what you want to say, making an immediate connection with your intended audience. This is where the art of selling truly begins.

Chapter 3: Build Memorable Brand Images

Creating a distinctive brand image is an essential investment in your product's future. Products, like people, have personalities that can make or break them in the marketplace. The image you craft becomes the lens through which consumers view everything about your offering - affecting perceptions of quality, reliability, and value. This image is formed through a complex interplay of factors, including the product's name, packaging, price, advertising style, and most importantly, the nature of the product itself. The power of brand image is perhaps most vividly illustrated in the spirits industry. Consider Jack Daniel's, Grand Dad, and Taylor whiskeys. Do consumers really choose between them based on taste tests and careful comparison? Hardly. What they're truly selecting is an image that appeals to them - an image carefully cultivated through consistent advertising. In fact, for whiskey, brand image represents about 90 percent of what the distiller is selling. In a fascinating study at the University of California, researchers gave students distilled water. When told it was simply distilled water, most reported no taste at all. But when told it came from the tap, many described it as tasting horrible, with a distinct chlorine flavor. They weren't tasting the water - they were tasting the image the description conjured in their minds. Similarly, when consumers are given two identical samples of whiskey but told one is Old Crow and the other Jack Daniel's, they perceive significant differences. The power of image transforms the identical into the distinct. Leo Burnett's campaign for Marlboro cigarettes stands as perhaps the ultimate example of successful image-building. Started 25 years ago and continuing with minimal changes to this day, the cowboy imagery has transformed Marlboro from an obscure brand to the best-selling cigarette in the world. The brand's rugged, masculine personality resonates across cultures and continents, demonstrating the universal appeal of a well-crafted image. Creating a powerful brand image requires consistency above all else. Every advertisement should be conceived as a contribution to the complex personality of your brand, building upon previous communications rather than contradicting them. This long-term perspective often faces resistance from those seeking immediate change or novelty - new agencies or marketing directors eager to make their mark. Yet the most successful brands resist these pressures, maintaining a consistent image year after year. The most effective approach to brand building combines rational product features with emotional appeal. When positioning your brand, seek attributes that are both persuasive and unique. A promise that is compelling but common to competitors will struggle to differentiate your product. Similarly, a unique attribute that consumers don't value will fail to motivate purchases. The perfect position combines a meaningful benefit with distinctive character, creating an image that competitors cannot easily replicate or challenge.

Chapter 4: Harness the Power of Long Copy

Against conventional wisdom that modern consumers lack the patience for detailed advertising, evidence consistently shows that long copy sells more effectively than brief, superficial messages. This principle applies particularly to products that require considered purchase decisions or involve significant consumer investment. The key is not brevity but relevance - well-crafted long copy engages readers and provides the substantial information they need to make confident buying decisions. When Louis Engel wrote an advertisement for Merrill Lynch containing 6,450 words of solid information about the stock market, a single insertion in the New York Times generated 10,000 responses - without even including a coupon. Claude Hopkins crafted a five-page text advertisement for Schlitz beer that, within months, propelled the brand from fifth place to market leader. More recently, a 700-word advertisement for Good Luck margarine delivered immediate sales increases, while a 600-word piece for Puerto Rico tourism (ostensibly authored by economist Beardsley Ruml but actually written by Ogilvy) generated 14,000 coupon responses and attracted numerous industrial investments to the island. These aren't isolated exceptions. A series of newspaper advertisements for Shell carrying 800 words of copy reversed a seven-year decline in market share. Francis Houghton's 4,750-word advertisement for US Trust proved remarkably successful, while Ogilvy's own 2,500-word advertisements for his agency brought substantial new business. The evidence is overwhelming across categories and decades: detailed, informative copy outperforms brief messages. Effective long copy begins with a compelling first paragraph that grabs attention immediately. Avoid opening with bland generalities like "Going on vacation is a pleasure to which everyone looks forward." Instead, provide an intriguing hook that pulls readers into your message. Structure your copy to maintain interest, using subheads, cross-heads, and varied paragraph lengths to create visual rhythm and make the text approachable. Remember that your first paragraph should be no longer than eleven words, and insert cross-heads throughout the copy to keep readers moving forward. The tone of your copy matters tremendously. Address readers as individuals, not as a crowd gathered in a stadium. As Queen Victoria once observed, Gladstone spoke to her as if addressing a public meeting, while Disraeli spoke to her as a human being. Your copy should follow Disraeli's example - conversational, direct, and personal. Write in everyday language, avoiding difficult words and industry jargon. When Ogilvy used the word "ineffable" in copy for Hathaway shirts, a reporter called asking what it meant - and Ogilvy himself had no idea. Remember Dr. Charles Edwards' conclusion after studying retail advertising results: "The more facts you tell, the more you sell." An advertisement's effectiveness invariably increases with the number of relevant product details included. This doesn't mean drowning readers in meaningless specifications, but rather providing the substantial information they need to make informed decisions. When you respect your customers' intelligence and provide genuine substance, they reward you with their business.

Chapter 5: Embrace Simple Layouts That Sell

The most effective advertising layouts aren't necessarily the most artistically innovative or visually experimental. In fact, overly complicated designs often undermine readability and distract from your selling message. The best layouts serve the content, making it accessible and engaging without calling attention to themselves. Remember that your advertisement's primary job is to sell, not to win design awards or demonstrate artistic virtuosity. For magazine advertisements, certain layout structures have consistently proven their effectiveness. One powerful approach places a large photograph at the top, followed by the headline directly under the illustration, with body copy flowing beneath. This arrangement follows the natural order of scanning - from top to bottom - making it easy for readers to absorb your message in logical sequence. By contrast, placing headlines above illustrations forces people to scan in an unnatural order, reducing engagement. Research shows that headlines below illustrations are read by 10% more people than headlines above - a seemingly small difference that translates to millions of additional readers in national publications. The most common layout mistake is creating advertisements that telegraph "this is only an advertisement" through conventional graphic treatments. Instead, consider using editorial-style layouts that resemble the news and feature content readers are naturally drawn to. Studies show that approximately six times as many people read the average article as read the average advertisement. By adopting editorial graphics - serif type, three columns, captions under photographs, drop-initials - you create a familiar, accessible format that invites reading rather than rejection. Typography plays a crucial role in effective layouts. Avoid all-capitals headlines, which research shows retard reading by eliminating the helpful ascenders and descenders that help readers recognize words. Similarly, avoid setting copy in measures that are too wide (more than 40 characters) or too narrow to be comfortably readable. Choose typefaces that people are accustomed to reading, like the Century family, Caslon, Baskerville and Jenson. Readability should always trump novelty or artistic expression - as John Updike noted, "Serifs exist for a purpose. They help the eye pick up the shape of the letter." For advertisements with substantial copy, incorporate typographical devices that increase readability: drop-initials (which boost readership by 13%), cross-heads throughout the text, selective use of bold or italic for emphasis, and appropriate leading (line-spacing) between paragraphs (which increases readership by 12%). These seemingly minor details significantly impact how many people actually read and absorb your message. Remember that many layout decisions that look impressive on agency walls fail in the real world of consumer attention. Layouts pinned to bulletin boards and approved from 15 feet away (as if they were posters) often feature headlines set in 72-point type that prove impossible to read at the normal reading distance of 20 inches. Never let artistic indulgence override the practical purpose of your advertisement - communication that leads to sales.

Chapter 6: Create Television Commercials That Work

Television remains the most powerful medium for selling most products, but creating effective commercials requires understanding which approaches genuinely change brand preferences and drive sales. Despite the subjective opinions that dominate many creative discussions, research has identified specific formats and techniques that consistently outperform others in the marketplace. Surprisingly, humor has emerged as an effective selling tool in television advertising, contrary to the conventional wisdom expressed by Claude Hopkins who thundered, "People don't buy from clowns." Recent research reveals that funny commercials can indeed sell products effectively - a relief to many creative professionals who have long favored humorous approaches. However, truly funny advertising remains exceptionally difficult to create, so unless you possess rare comedic talent, proceed with caution. The "slice of life" format, though often maligned by copywriters as corny and overused, continues to demonstrate remarkable effectiveness. These mini-dramas typically feature one character convincing another about a product's benefits in a realistic setting, ending with the skeptic's conversion. While they may lack critical acclaim, these commercials connect with viewers and drive purchases. Similarly, testimonials from loyal product users deliver powerful results, particularly when the endorsements appear authentic rather than scripted. Shell effectively used this approach by filming "hidden camera" interviews with customers defending the product against criticism from actors posing as employees. Demonstrations that show how well products perform consistently rank above average in changing brand preferences. These need not be dull presentations - International Paper spanned a canyon with a bridge made of paperboard and drove a truck across it, while the Paris office of Ogilvy & Mather demonstrated glue strength by applying it to an announcer's shoes and hanging him upside down from the ceiling. Problem-solution commercials also perform strongly, showing viewers a familiar challenge and then presenting the product as the solution - a format particularly effective for household and personal care items. Despite being derided as uncreative, "talking heads" commercials featuring a spokesperson extolling product virtues remain effective, particularly for announcing new products. Character-based commercials using recognizable figures who become living symbols of the product over time - like Titus Moody for Pepperidge Farm or Cora for Maxwell House - also demonstrate above-average ability to change brand preferences when the characters are relevant to the product. Commercials containing genuine news consistently outperform those without, while those providing rational reasons for purchase show slightly above-average results. However, research also validates the power of emotion in advertising. Campaigns rich in nostalgia, charm and sentiment can be tremendously effective, particularly when there's nothing unique to say about the product. As Hal Riney noted, "Most clients think the rational appeals for their products are much more important than consumers think they are." To maximize effectiveness, ensure your commercials identify your brand early and often - ideally within the first ten seconds, with several subsequent mentions. Show the package clearly, particularly at the conclusion, and reinforce your promise through both audio and visual means. Food products should be shown in motion (chocolate sauce being poured, syrup flowing over pancakes) to maximize appetite appeal. Most importantly, open with visual impact - if you don't grab attention in the first frame, viewers may never see the brilliance that follows.

Chapter 7: Lead Your Agency with Vision

Running an advertising agency demands extraordinary leadership skills - a unique combination of creative insight, business acumen, and psychological understanding. Agency professionals work in a perpetual state of anxiety, with copywriters fearing they won't discover breakthrough ideas in time, account executives balancing client and agency expectations, and agency heads worrying about client retention, talent management, and financial performance. Creating an environment where exceptional work flourishes amid these pressures requires both vision and pragmatism. Stanley Resor, who led J. Walter Thompson for 45 years and built it into the world's largest agency, demonstrated remarkable talent for attracting exceptional people and keeping them. His team included figures like Sam Meek, James Webb Young, Henry Stanton, Ken Hinks and Gilbert Kinney - arguably the strongest collection of talent ever assembled in an agency. Rather than ruling through intimidation or hierarchical control, Resor managed by consensus, structuring the agency loosely like a law partnership, without rigid departmental boundaries or job descriptions. He believed brilliance could be dangerous and distrusted what he called "Individual Opinion," yet he created an atmosphere where collective intelligence flourished. Raymond Rubicam took a different approach at Young & Rubicam, coming down firmly on the side of creative excellence. Under his leadership, the agency assembled the finest team of copywriters and art directors in advertising history, including Jack Rosebrook, Roy Whittier, Vaughn Flannery, Henry Lent, George Gribbin, Sid Ward and Norman Robbins. Rubicam integrated research into the creative process by bringing in Dr. Gallup to measure advertisement readership, developing guidelines that enabled Y&R to produce advertisements read by more people than any other agency's. His definition of a good advertisement was that "its public is not only strongly sold by it, but both the public and the advertiser remember it for a long time as an admirable piece of work." Leo Burnett, founder of the "Chicago school" of advertising, believed in the power of American vernacular and emotional authenticity. He encouraged his creatives to "steep yourself in your subject, work like hell, and love, honor and obey your hunches." Though he set high standards through his Creative Review Committee (which he likened to being "nibbled to death by ducks"), Burnett created an agency culture that valued heartland sensibilities and emotional connection above slick sophistication. His greatest monument is the Marlboro campaign, which transformed an obscure brand into the world's best-selling cigarette and continues running 25 years after he created it. Effective agency leadership requires making your organization a fun place to work - killing grimness with laughter and encouraging exuberance while removing the "sad dogs who spread gloom." The best agency heads are enthusiasts with intellectual honesty who face tough decisions resiliently. They encourage communication upward and listen well. Rather than hiring people smaller than themselves, they recruit those with greater talents in specific areas, knowing that surrounding yourself with giants builds a stronger organization than collecting dwarfs. When you lead an agency with vision, you create an environment where anxiety transforms into creative energy rather than paralysis. You establish clear principles while allowing space for innovation. Most importantly, you recognize that your ultimate product isn't advertisements but relationships - with clients, with consumers, and with your own team. These relationships, built on trust and delivered results, become your most valuable asset and your legacy in the industry.

Summary

The principles that drive effective advertising remain remarkably consistent despite technological evolution and cultural shifts. Throughout these pages, we've explored approaches that have consistently delivered measurable results across decades and categories - from thorough research and compelling headlines to powerful brand imagery and persuasive copy. As David Ogilvy himself observed, "I do not regard advertising as entertainment or an art form, but as a medium of information. When I write an advertisement, I don't want you to tell me that you find it 'creative.' I want you to find it so interesting that you buy the product." The journey to creating advertising that truly sells begins with honest assessment of your current approach. Select one campaign you're currently developing and apply the principles we've discussed - examine your research foundation, test your headlines against proven formulas, evaluate your layout for readability rather than artistic indulgence, and consider whether you're providing sufficient information for consumers to make confident decisions. Remember that in advertising, the timeless outperforms the trendy, and techniques that connect with human nature will always deliver superior results to those that merely chase fashion. As Hopkins wisely noted, "The advertising man studies the consumer. He tries to place himself in the position of the buyer."

About Author

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David Ogilvy

David Mackenzie Ogilvy was born in West Horsley, England, on June 23, 1911. He was educated at Fettes College in Edinburgh and at Christ Church, Oxford (although he didn't graduate).david ogilvy After Oxford, Ogilvy went to Paris, where he worked in the kitchen of the Hotel Majestic. He learned discipline, management - and when to move on: "If I stayed at the Majestic I would have faced years of slave wages, fiendish pressure, and perpetual exhaustion." He returned to England to sell cooking stoves, door-to-door.Ogilvy's career with Aga Cookers was astonishing. He sold stoves to nuns, drunkards, and everyone in between. In 1935 he wrote a guide for Aga salesmen (Fortune magazine called it "probably the best sales manual ever written"). Among its suggestions, "The more prospects you talk to, the more sales you expose yourself to, the more orders you will get. But never mistake quantity of calls for quality of salesmanship."In 1938, Ogilvy emigrated to the United States, where he went to work for George Gallup's Audience Research Institute in New Jersey. Ogilvy cites Gallup as one of the major influences on his thinking, emphasizing meticulous research methods and adherence to reality...

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