Notes - Adweek Copywriting Handbook

March 3, 2025

Introduction: The Origin of This Book

This handbook is based on a copywriting and marketing seminar that Joseph Sugarman presented from the 1970s through 2000. Sugarman was a prolific writer, creating complete catalogs, print advertisements, and direct mailings for his own company, JS&A Group, Inc.. He experienced direct consequences from his successes and failures, learning most from his numerous failures in the early stages of his career, which he describes as a "costly education". Despite his failures often outnumbering his successes, the public perceived him as having the "Midas touch" due to the visibility of his innovations and successful ads.

Initially, Sugarman did not intend to offer seminars, being busy with his business and wary of sharing his secrets with potential competitors. However, a series of coincidences, including finding a second home in northern Wisconsin that provided an "idyllic setting," led him to offer these courses. His seminars were unique because he was an actual practitioner on the "firing line," making daily marketing gambles and covering payroll, unlike educators or consultants. The timing was also significant, as his mail order ads were peaking in regularity and frequency, attracting imitators.

The book shares lessons and experiences from these seminars, teaching readers how to mentally prepare to write copy, write effective copy, and present products, concepts, or services in novel and exciting ways. It aims to teach "what really works and what doesn’t" and how to "avoid many of the pitfalls that marketers fall into". Sugarman conveys his unique approach by demonstrating his thought process on copy flow, essential ad elements, psychological triggers, and emotional word impact. The seminar was also a motivational experience for many participants, helping them achieve success.

The ultimate goal of writing effective copy is simple: "To cause a person to exchange his or her hard-earned money for a product or service". Direct marketing, using "the power of your pen" or messages conveyed via print, TV, radio, or computer screen, can move millions to buy. Print ads are used as a primary reference point in the book because they are among the most challenging forms of direct marketing, requiring the copywriter to entice a person to read, convey a complete story, and convince them to order from a single, two-dimensional page without sound or motion. Mastering these skills allows one to build a business with "very little capital".

Sugarman conducted 17 seminars from 1977 to 2000, with 312 students, including individuals who started with their "last $2,000" and already successful entrepreneurs. The book offers fresh insights into copywriting, marketing, human behavior, the Internet, and public relations, regardless of the reader's current educational level. Even if not interested in writing copy, readers will gain a better appreciation and understanding of the process, enabling them to write good copy or at least critique it.

Section One: Understanding the Process Preview

This handbook is a revised version of Sugarman's 1998 book, Advertising Secrets of the Written Word, which compiled lessons from his exclusive seminars that began in 1977. In revising the book, he discovered that all core copywriting principles remained the same regardless of changes in communication methods. Updates primarily involved facts, figures, and contemporary examples.

A fundamental fact emerged: any product or service should first be expressed as a print direct response ad. This format helps develop the "real essence" and "strong selling points" that can then be adapted to other media like the Internet, catalogs, or TV. Print ads, being flat, silent, and motionless, force the copywriter to rely solely on words.

The first section guides readers through the step-by-step creative process of writing a print direct response ad, demystifying the process and making it seem "easy" even for novices. Sugarman claims that the most common comment from his readers is, "I now realize how easy it is to write great copy". He emphasizes that being able to write copy for one's own business is a "powerful tool".

Chapter 1: General Knowledge

To become a successful copywriter, one needs two types of knowledge: broad or general knowledge, and specific or targeted knowledge. The best copywriters are characterized by their curiosity about life, extensive reading, diverse hobbies, travel experiences, varied interests, and mastery of multiple skills. They are "hunger for experience and knowledge" and excel as listeners, finding other people interesting.

Sugarman highlights his own diverse background as an example, listing his skills as an instrument-rated multi-engine commercial pilot, amateur radio operator, professional photographer, and his interests in computers, music, reading, movies, travel, art, and design. He recounts doing everything for his company's catalog, from typesetting to photography, and engaging in numerous sports and travels. He emphasizes that his hundreds of failures and many successes each served as learning experiences.

The top credentials for a good copywriter are a thirst for knowledge, tremendous curiosity, a wealth of experiences, and a willingness to work. Great writers, like Hemingway and Steinbeck, wrote about their extensive experiences. The more experiences and knowledge one accumulates, the easier it becomes to generate "that big copy idea or marketing concept".

Sugarman states that "there is nothing really new in life" – innovation comes from taking previous pieces of knowledge and combining them in a unique way. The more data stored in one's brain and the greater the ability to interrelate that knowledge into new combinations, the more powerful one's capabilities as a copywriter and idea person become. He uses the saying, "If all you have is a hammer, you look at every problem as a nail," to illustrate that more "tools" (experiences, knowledge) lead to more solutions.

Lateral thinking, a term coined by Edward de Bono, is presented as a valuable tool for generating ideas by relating the problem to something seemingly unrelated. Sugarman describes de Bono's "Think Tank," a device that randomly generated three words to spark creative connections to a marketing problem. He also suggests using a dictionary as a tool for conceptualizing, emphasizing the ability to "relate totally divergent concepts to create a new concept".

Another crucial factor for a great copywriter is the experience of running one's own company and being directly responsible for every word written. Many top direct marketing copywriters, such as Ben Suarez, Gary Halbert, and the late Gene Schwartz, owned their own businesses and learned through "years of trial and error". Sugarman's own experience of coming up with hundreds of "big ideas" annually for thousands of products provided an "immense wealth of broad experience" that allowed for a significant learning curve. He highlights that readers can avoid many of the pitfalls and mistakes he made. Ultimately, the preparation for being a great copywriter is a lifestyle characterized by a "hunger for knowledge, a curiosity and a desire to participate in life that is broad-based and passionate".

Chapter 2: Specific Knowledge

Beyond general knowledge, copywriters must acquire specific knowledge about the product, service, or topic they are writing about to be effective. Sugarman illustrates this with his experience at the Sensor Watch Company, where he spent two days in the laboratory, delving into every detail of a new digital watch's design and production. He asked engineers exhaustive questions about components like integrated circuits, quartz crystals, and gold-plated contacts. This intensive learning process led to a crucial discovery: the new watch's constantly glowing display was possible only because a laser beam sealed the radioactive material in a transparent capsule. This insight immediately gave him the headline: "Laser Beam Digital Watch," which explained how the new technology benefited the consumer and generated millions in sales.

Becoming an expert means learning enough to "effectively communicate the real nature of what you are trying to sell". While not always requiring weeks of study, this deep understanding is vital for finding unique angles. Sugarman notes that his own background as a pilot, ham radio operator, and photographer meant he already had "vast knowledge of the gadgets" he sold and, importantly, knowledge of his customer – because he was often his typical customer.

Crucially, in addition to knowing the product, a copywriter must know the customer. This involves gathering specific information on who the target audience is and what motivates them. If the copywriter isn't a typical customer, extensive study is required to understand their motivations.

Furthermore, every product has a "nature of its own" that must be discovered and understood for successful presentation to the customer. Sugarman shares the story of Howard Franklin, an insurance salesman, who repeatedly tried to sell him insurance. Sugarman initially resisted until his neighbor, a man in his 40s, died suddenly from a heart attack, prompting Sugarman to call Franklin the next day. This experience taught him that fear of loss is a powerful motivator for insurance, and this understanding helped him sell burglar alarms (Midex system) by emphasizing reliability and ease of installation, rather than just fear.

Another example of specific knowledge creating a unique selling point is the Pocket CB radio. While engineers saw its small size as a disadvantage due to reduced power, Sugarman recognized it as a key advantage, selling over 250,000 units by highlighting its portability. This demonstrated the power of combining general knowledge with specific product knowledge to uncover unique, overlooked features. This deep specific knowledge is what dramatically enhances a copywriter's ability to communicate effectively.

Chapter 3: Practice, Practice, Practice

Copywriting, at its core, is a mental process of organizing thoughts and then transferring them onto paper. Some master copywriters, like Joe Karbo (who wrote The Lazy Man’s Way to Riches in one draft), conceive their greatest works mentally before writing them down, while others prefer to just start writing. Sugarman himself experienced both scenarios: some ads flowed easily, while others required extensive corrections.

The "bottom line" for all approaches is that copywriting is primarily a mental process. The best way to begin is simply to start writing. Consistent and voluminous writing over time guarantees improvement. Sugarman admits his earliest JS&A direct response ads were "horrible" but improved significantly with "sheer volume and experience," much like a musician practicing for Carnegie Hall.

A critical realization for copywriters is that the first draft is often terrible; the true skill lies in polishing that rough draft through adding, deleting, or rearranging words, sentences, or paragraphs. The initial goal is to get "something—anything—on paper," an "emotional outpouring" of ideas, without worrying about how it reads.

Axiom 1 defines copywriting as: "a mental process the successful execution of which reflects the sum total of all your experiences, your specific knowledge and your ability to mentally process that information and transfer it onto a sheet of paper for the purpose of selling a product or service". This book provides the techniques to expand knowledge of this process, enabling readers to write copy that motivates people to exchange money for a product or service. Sugarman emphasizes that copywriting is "the key to any successful direct marketing venture" – even with the best product, effective communication is vital. He shares his "expensive education" gained from years of failures and experiences, which readers can now share.

Chapter 4: The Purpose of All the Graphic Elements of an Ad

This chapter introduces a crucial axiom foundational to Sugarman's copywriting philosophy. He starts by listing the common perceptions of the 10 graphic elements in a direct response ad:

After this conventional understanding, Sugarman presents Axiom 2, which often confuses students at first: "All the elements in an advertisement are primarily designed to do one thing and one thing only: get you to read the first sentence of the copy". He insists that elements like the subheadline, photo, caption, logo, price, and overall layout do not have their own independent purposes, but rather serve this singular goal. For example, the "real answer" for the main purpose of a logo is "to get you to read the copy". He urges readers to "just take my word for it now and let me prove it to you later in this book," promising that this understanding will dramatically change their results, whether for print ads or websites.

Chapter 5: The First Sentence

Building on Axiom 2, if the purpose of all ad elements is to get the reader to the copy, then the first sentence is "pretty important". If the first sentence isn't read, chances are the second won't be either. To make the first sentence compelling, simple, and interesting enough for "every one of them" to read, it must be short.

Sugarman cites typical JS&A first sentences as examples: "Losing weight is not easy," "It’s you against a computer," "It’s easy," "It had to happen," "Hats off to IBM". These sentences are "so short and easy to read that your reader starts to read your copy almost as if being sucked into it," much like a locomotive slowly building momentum. Magazines use a similar technique, starting articles with very large type to draw readers in, then gradually reducing the font size.

For advertisements, the first sentence needs to be "very compelling by virtue of its short length and ease of reading," avoiding "long multisyllabic words" and being "almost incomplete" to compel the reader to the next sentence.

This leads to Axiom 3: "The sole purpose of the first sentence in an advertisement is to get you to read the second sentence". This principle extends throughout the ad: the purpose of the second sentence is to get you to read the third, and so on. Sugarman clarifies that at the beginning of an ad, there is no mention of benefits or product description; the sole purpose is to hold the reader's attention. Losing a reader early is like a salesperson putting a prospect to sleep at the start of a presentation. His most successful ads consistently follow this format. He asserts that attempts to put the sales pitch at the beginning are often ineffective. Grasping this concept – that all elements lead to the first sentence, and the first sentence leads to the second – provides a "great understanding of copywriting and the persuasive process".

Chapter 6: Creating the Perfect Buying Environment

Beyond holding attention, another crucial function of the opening paragraphs of an advertisement is to create a buying environment. Sugarman illustrates this with a salesperson analogy: if selling an expensive product requiring an hour-long explanation, the best location is "in the best selling environment for what you have to sell". This principle also applies to print advertising.

He shares his "Honolulu Experience," where he walked into an elegant art gallery, which automatically made him "expect the prices to be high". The saleslady subtly led him into a "private room" that further put him in the "ideal buying mood". This experience taught him the importance of setting up a buying environment, which, in an ad, should begin in the early stages as reading momentum is established.

In a print ad, the copywriter has "total control over its appearance" and can create the ideal environment. For example, a discount ad would use "big type for prices and lots of busy graphic elements," while an ad for an expensive item would exude "class and refinement—that exuded confidence and trust". Sugarman applied this with his upscale Battram Galleries (collectibles) versus his bargain-oriented Consumers Hero concept. His JS&A ads, known for space-age electronics, consistently maintained a "uniform, well-organized format" that served as the perfect environment.

The environment is created by both graphic elements and copy, but "especially the copy" through word choice, phrasing, and the integrity conveyed. Unlike a physical store, the environment in an ad can be created entirely through copy and web site look. This environment is critical for getting a customer into a "buying mood". It starts with attention-grabbing elements, leading to the compelling first sentence, and continues as the reader progresses through the slippery slide, all while the environment is being subtly built.

This leads to Axiom 4: "Your ad layout and the first few paragraphs of your ad must create the buying environment most conducive to the sale of your product or service". Sugarman emphasizes that creating this ideal environment stems from experience and specific knowledge of the product and customer, understanding the product's "nature".

Chapter 7: Resonating with the Reader

Sugarman recounts his early sales training experience in New York City at age 20, where he studied everything he could on salesmanship. He observed small auction shops on Times Square, learning about appealing to greed and creating "buying frenzy". His high school preference tests predicted his career, showing high scores in "persuasion" and "literary" – qualities that combine to form "literary persuasion" in print advertising.

He applies the steps of in-person selling to print advertising: setting the selling environment, getting attention, and then the sales pitch (copy). During the sales pitch, the seller must achieve two things: the buyer must like and trust the seller, and the seller must relate the product to the buyer's needs. Crucially, the buyer and seller must "vibrate together" – there must be a "harmony" between them for the persuasive message to land.

Two key methods for creating this harmony directly apply to advertising:

  1. Getting the prospective reader to start saying "yes."
  2. Making honest and believable statements.

He uses the example of a car salesman who asks obvious, truthful questions that elicit "Yes" or affirmative nods from Mr. Jones, building rapport ("Nice day, Mr. Jones?" "Yes."). The moment a reader says "No" or "I really don’t believe what he is saying," or "I don’t think that relates to me," that harmony is lost, and the reader stops reading. As long as the reader agrees and stays interested, harmony is maintained, leading the reader "down that path toward that beautiful room in the art gallery".

Sugarman illustrates this with his "Food Crunch" ad for dehydrated survival food. By tying into the then-current fuel shortage and using truthful, interesting statements like "We all take our food supply for granted," the ad prompted readers to "nod his or her head in the affirmative".

At the beginning of an ad, three goals are pursued: first, get the reader to read the copy; second, create a comfortable buying environment; and third, harmonize with the prospect by eliciting agreement. He recounts how Cycle magazine used a "knockoff" of his ad format and copy style to harmonize with him, successfully leading him to buy ad space. Similarly, his "Consumers Hero" ad used language ("Consumers are being robbed. Inflation is stealing our purchasing power...") that resonated deeply with bargain-hunting consumers during a time of high inflation.

Sugarman highlights the incredible power of selling in print, allowing one to "duplicate yourself on billions of pages" and reproduce a selling job that "will harmonize with the consumer". This leads to Axiom 5: "Get the reader to say yes and harmonize with your accurate and truthful statements while reading your copy".

Chapter 8: The Slippery Slide

Sugarman recaps the core principles covered thus far: general and specific knowledge, the importance of practice, copywriting as a mental process, the singular purpose of all ad elements (to get the first sentence read), the first sentence's purpose (to get the second sentence read), building a selling environment, and resonating with the reader.

Now, he introduces the "critical part" called the "slippery slide". He describes it with an analogy of a greased playground slide where one, once started, cannot stop sliding down despite efforts to hold on. This is how copy must flow: "Every element in an advertisement must cause that slippery slide effect". The headline compels reading the subheadline, which compels the first sentence, which compels the next, and so on, "straight through the entire copy to the end".

He received a "complimentary complaint letter" from a Scientific American reader who, despite having no interest in the product (a thermostat) and rarely reading ads, was "sucked into" reading his entire ad for five minutes due to the "force of 'Reading Gravity'". This demonstrates that if the majority of scanners read an ad, a good percentage will buy. The "slippery slide" causes people to "traffic" an ad, meaning they go through the entire text before deciding to buy. It's been proven that if a reader gets through more than 25% of an ad, there's a "great probability" they will read the entire ad.

Sugarman provides examples of the slippery slide in his own ads:

Axiom 6 states: "Your readers should be so compelled to read your copy that they cannot stop reading until they read all of it as if sliding down a slippery slide". The key is to start the copy with a story or interesting piece of news that is "offbeat, always interesting and a great short story". Visual techniques like larger type can also help initiate the slide.

Chapter 9: Assumed Constraints

Sugarman introduces the concept of "assumed constraints" using the analogy of a circus elephant chained to a small wooden peg. Though an adult elephant could easily break free, it was conditioned as a baby that it was impossible and painful to do so, thus it never tries. Similarly, people often carry subconscious limitations from past negative experiences (e.g., bad grades in English class or negative feedback on writing) that hinder their potential. Understanding these ingrained constraints is key to breaking free and achieving one's goals.

He provides the nine-point puzzle as an example: connecting nine dots with four straight lines without lifting the pen. Most people fail because they unconsciously limit themselves to staying "inside the box" formed by the dots. The solution requires drawing lines outside this assumed boundary. The lesson is that to solve important problems, one often needs to "go out of the problem area itself".

Sugarman gives personal examples of defying assumed constraints:

He emphasizes that "You never really know what will work or what won’t. If you believe in your idea, do it. Step out of those assumed constraints".

Axiom 7 summarizes this principle: "When trying to solve problems, don’t assume constraints that aren’t really there". By remembering the baby elephant and the nine-point puzzle, individuals can learn to break free from these self-imposed limitations in copywriting and life.

Chapter 10: Seeds of Curiosity

Sugarman emphasizes that to increase "traffic" (readership) in an advertisement, one must increase readership. One effective way to do this is by applying his theory of "seeds of curiosity". This involves placing a very short sentence at the end of a paragraph that provides a reason for the reader to continue to the next paragraph, such as "But there’s more," "So read on," "But I didn’t stop there," "Let me explain," or "Now here comes the good part". These phrases subconsciously compel continued reading, especially when the copy might otherwise slow down, much like a TV show host teasing viewers before a commercial break. While ideally, copy is so compelling it doesn't need these, they "enhance most copy".

Seeds of curiosity can also be used at the beginning of an ad by mentioning a benefit or payoff that will only be revealed later in the copy, forcing the reader to read the entire ad to find it (e.g., the Consumers Hero ad).

Sugarman shares a lengthy, dramatic, and humorous story about a "sensuous-sounding young woman" named Ginger, who called him expressing her admiration for his copywriting and her desperate need for his help with her failing beauty shop mailings. She eventually visited his office, appearing overtly seductive to try to entice him to write copy for her. Sugarman suspected it was a ploy involving "sex or guilt". After examining her "horrible" mailing piece and explaining its flaws (poor copy, wrong mailing list, lack of testing), Ginger whispered a proposition: she wanted him as her personal "mentor" and would offer her "body for my copywriting ability". Sugarman refused, stating his policy of teaching groups in seminars, but offered her free attendance if she paid him back after making her first million. He admits he never heard from her again.

This story, which Sugarman intentionally ended in a previous chapter for readers to turn to the appendix ("You couldn’t wait, could you?"), serves as a vivid demonstration of the "seeds of curiosity theory big time". He stresses that getting people to exchange money is "not a natural act" and requires "tremendous motivation" generated by a compelling message that makes people "totally involved" and "helplessly caught in a slippery slide".

Axiom 8 states: "Keep the copy interesting and the reader interested through the power of curiosity". Once readers are caught in the slippery slide, they should be unable to escape. The slippery slide and seeds of curiosity are presented as "two of the most powerful copywriting tools".

Chapter 11: Copy as Emotion

Sugarman re-emphasizes that good copywriting involves a harmonious connection with the reader, a comfortable buying environment, and the slippery slide. He states that with the principles covered so far, readers have a "major portion of the overall philosophy" of his copywriting concept. He cites the example of Frank Schultz, a Texas farmer, who wrote a powerful grapefruit ad after the seminar, selling more fruit than he could pick and ship, demonstrating that knowledge of these principles can make anyone a great copywriter.

This chapter focuses on emotion in advertising, with three key principles:

He explains the third principle with the Mercedes-Benz example: people buy it emotionally (status, feeling), but justify it logically with features like steering, braking, safety, and resale value. Mercedes' advertising focuses on these logical justifications, knowing the emotional motivation is already there.

Sugarman draws an analogy to a song: the music (like the "vibration or that special harmony" in an ad) appeals to the audience's soul, setting them up to receive the sales message. Without the emotional "music," words can sound ridiculous (e.g., Steve Allen reciting pop song lyrics).

He asserts that in advertising copy, once an emotional frame of mind is created, logic becomes less important. He uses his own phrase, "If you aren’t absolutely satisfied, return your product within 30 days for a prompt and courteous refund," noting that "courteous" refund makes no logical sense but conveys the emotion of a "very respectful and understanding company". Sometimes, an illogical phrase can be more effective emotionally than a purely logical one.

His "Pocket Yellow Pages" ad, which sold millions, is a prime example of an emotional approach overriding logic. Competitors failed by focusing on technical advantages and memory (logic) for a breakthrough digital calculator display. Sugarman's ad, titled "Pocket Yellow Pages" with the subheadline "Let your fingers do the data entry with America’s first computerized pocket telephone directory," instead painted an emotional picture: "You’re stuck. You’re at a phone booth trying to find a phone number, and people are waiting. You feel the pressure. To the startled eyes of those around you, you pull out your calculator...". He understood the product's "nature" and the customer's desire to show it off, justifying the purchase later with facts but not dwelling on them.

Sugarman states that his first draft of an ad is often "poorly written" with bad grammar and spelling because it is purely "an emotional outpouring of my thoughts". He emphasizes that what matters is the editing process that follows, allowing for this "free release of emotions" in the initial stage.

Finally, understanding that each word carries an emotion—almost a "short story unto itself"—is crucial. He views a dictionary as a "collection of short stories". Words like "farmer" evoke honesty, integrity, and hard work, while "Soviet" might sound sinister. He demonstrates the emotional difference with "The old woman in the motel" versus "The little old lady in the cottage," where "cottage" gives a "better emotional feel". He also cites John Caples's finding that changing "repair" to "fix" increased response by 20%. This emotional understanding develops with time, testing, and common sense.

Chapter 12: Selling the Concept, Not the Product

This chapter presents one of the most fundamental principles: **Axiom 9: "Never sell a product or service. Always sell a concept". Sugarman explains that "concept" is synonymous with "positioning," "Big Idea," "USP (unique selling proposition)," or "gimmick" – essentially, "You sell the sizzle and not the steak".

The only exception is when a product is so "unique or new that the product itself becomes the concept". For example, when digital watches first appeared, their novelty made simply explaining their features enough to sell them. However, as digital watches became common, each ad needed a unique concept to differentiate them (e.g., "the world’s thinnest," "one with a built-in alarm," or "one that required a laser beam in its manufacturing process").

He provides other examples:

Sugarman acknowledges that finding the right concept is often difficult, requiring "conceptual thinking" and a keen eye to "discover each product’s uniqueness". He refers to a Leo Burnett ad agency ad that perfectly captured this essence, stating that every good product has inherent "drama" that a good agency must find to sell it. The simple positioning of a product and development of a strong concept can be the difference between "a huge success and a loser".

Chapter 13: The Incubation Process

This chapter delves into the mental steps required to write effective copy. Sugarman reiterates the importance of general knowledge (gained from life) and specific knowledge (gained from studying the product).

Once a copywriter is an expert on a product and ready to write, the first step is to thoroughly review all material and think deeply about what to write. This involves jotting down headlines, copy points, product nature, and reasons for customer appeal. Alternatively, one can simply "think through everything" without writing anything down. He also suggests visualizing the "end result" – a successful response or praise from a boss.

Then comes the crucial, counterintuitive step: "Stop. That’s right, stop.". The copywriter should completely divert their attention to something pleasurable and unrelated to the project, such as a stroll, a walk, or lunch with a friend. During this "total diversion," the subconscious mind is actively processing all the accumulated general and specific data, running it through the copywriter's knowledge of communications and copywriting, and "mentally preparing the first version of your ad copy". The "big idea" often flashes into mind during this period, often referred to as a "Eureka!" moment.

While deadlines might force a faster incubation, the ideal process allows for a balance of pressure and time away from the project to produce optimal results. Pressure (from time, ego, creative orientation, and environment) actually enhances the incubation process. A large ego, for example, can create positive pressure to produce "knockout copy".

Sugarman advises managers that creative departments need an atmosphere conducive to incubation, suggesting they be kept separate from other departments to avoid negative perceptions from conscious-level staff. When it's time to write the first draft, discipline is key: "let that copy come pouring out of your brain, forgetting about spelling and grammar". This allows the "right brain" (intuitive, emotional side) to write, unencumbered by "left-brain restraints" (logic, grammar). This outpouring is the culmination of the incubation process.

Axiom 10 summarizes: "The incubation process is the power of your subconscious mind to use all your knowledge and experiences to solve a specific problem, and its efficiency is dictated by time, creative orienta-tion, environment and ego". Successfully completing the incubation and pouring out the first draft accomplishes half the copywriting challenge; the other half is the editing process.

Chapter 14: How Much Copy Should You Write?

A common question in his seminars was about copy length. Sugarman states the direct marketing axiom: "there is no such thing as copy that is too long". The key is simply that "Copy is never too long if the reader takes the action you request". For copy to achieve this, it must be compelling, relate to the reader, and be about something the reader is interested in. This ties into the "slippery slide" concept: compelling copy ensures the reader reads it from beginning to end.

He illustrates this with an experiment: if a newspaper headline involved the reader's own name and family inheriting a fortune, they would "read the entire 3,000-word article" because they are "intensely interested" and involved. Similarly, copy will be read if it is genuinely interesting to the reader. He recalls his intense interest in Macintosh computers, leading him to read "anything on the Macintosh," including entire articles and ads. When the market for digital watches was booming, customers read every word of his informative and helpful copy.

Sugarman also recalls the car showrooms of the 1950s, where he learned that "You can’t tell the prospect enough about a subject he or she is truly interested in". This means copy should be long enough to tell the entire story or make the entire sales pitch—"no longer and no shorter". While practical limits exist, they can be broken; he cites Gary Halbert's 3,000-word personal ad for a girlfriend and Richard DelGaudio's 4,000-word want ad for a personal assistant, both highly successful.

He identifies two basic reasons for using the long-copy approach:

  1. To allow the copywriter to create an environment that puts the prospect in the proper buying mood.
  2. To give the copywriter time necessary to tell the full story of the product.

He acknowledges that short copy works too, especially when the product is low-priced, or the environment is largely conveyed visually (like in catalogs with elegant photography or low prices, as seen with Robert Scott's company). Ultimately, Sugarman is "not for long or short" copy; he is for copy that causes the prospect to buy, and length is just "one of several considerations".

Axiom 11 states: "Copy should be long enough to cause the reader to take the action you request". He notes that enough people read long copy to provide a "nice living" for himself and other copywriters.

Chapter 15: The Art of Personal Communication

Sugarman emphasizes that advertising, as the "ultimate form of communication" aiming to prompt action, should be personal. He uses direct mail as an example, where a letter is written to a "single individual". He criticizes copywriters who write letters as if addressing a large audience ("We at ABC Company wish to invite all of you...") instead of a personal, direct tone ("Hi. You might remember me from the last trade show. Well, I’d like to invite you..."). Using words like "I," "you," and "me" creates this personal feel.

He reiterates that copywriting is an "emotional outpouring". He compares two thank-you letters: one from "Mr. John Smith" of "Consolidated International" that feels like a form letter, and another from "John Lee" who personally thanks the customer and even "showed it to the president of our company". The second letter, despite serving the same purpose, is "warmer, more personal and you felt that Mr. Lee was talking to you directly," conveying "genuine emotion".

His Consumers Hero club letters are cited as good examples of personal communication, conveying the image of "hardworking people, of all ethnic backgrounds, working together in harmony". They even included gimmicks like Batman credit cards as membership cards and often contained self-deprecating honesty. These letters were "fun to read" and members often found them "worth the price of the membership".

In print ads, although talking to "the masses," the copywriter is still talking to a "single individual" (the reader). Therefore, copy must be "very personal. From me to you. Period.". An effective way to achieve this in print is to use a byline (the writer's name or company president's name), which allows the use of "I," "you," "me," and "we". He gives his BluBlocker sunglasses ad as a prime example, starting with "I am about to tell you a true story. If you believe me, you will be well rewarded. If you don’t believe me, I will make it worth your while to change your mind. Let me explain". This immediately establishes a "very personal tone".

He mentions that even magazines like Forbes create a personal connection through editor's notes and personality, contrasting it with the more corporate feel of BusinessWeek. The goal is to "create a very personal image so that people will emotionally respond to you, feel close and feel very comfortable parting with their hard-earned money".

Axiom 12 reinforces this: "Every communication should be a personal one, from the writer to the recipient, regardless of the medium used". Copywriters should think in terms of writing in the first person with a personal message.

Chapter 16: The Copy Sequence

This chapter focuses on the flow and logical progression of copy. Sugarman emphasizes that copy "must make sense" and be in an "understandable order where each thought flows logically to the next". Readers often comment that his ads uncannily answer questions that come to their minds as they read. Since copywriters lack the benefit of a live prospect to ask questions, they must "craft our ads in such a manner that they literally lead our prospect (by the flow of the copy) to ask the question we want to answer".

The process begins by writing the headline, then subheadline, then caption, ensuring each element compels the reader to the next. Then, the first sentence is written, short and strong enough to carry the reader into the "slippery slide".

He shares an anecdote about his then eight-year-old daughter, April, who intuitively demonstrated this logical flow by writing a simple yet effective ad for a guinea pig. Her ad, despite its simplicity, followed his principles by anticipating and answering questions (e.g., "how do you take care of the guinea pig? Where should I keep it? What does it eat?"). This showed that "Good copy can be written at any age and by anybody" with an understanding of the principles.

Sugarman teaches students to create a "block diagram" or flowchart of how copy should logically flow, anticipating questions. This flowchart moves in one direction: down. He illustrates this with his ad for the Bally electronic pinball game:

The goal is to anticipate the prospect's next question and answer it, leading them through the ad in an environment created by the copywriter. Experienced copywriters develop an instinctive sense for this flow, but flowcharts can still be helpful.

Axiom 13 states: "The ideas presented in your copy should flow in a logical fashion, anticipating your prospect’s questions and answering them as if the questions were asked face-to-face".

To generate concepts, he advises stating the problem and then restating it in different ways until a new perspective emerges, leading to "big ideas". He also suggests "patterning": using an admired ad as a format guide for style (e.g., headline length, use of captions), but without copying the layout too closely to avoid violating rights. The main point is to anticipate prospect questions and answer them in a logical sequence. The "editing process" is identified as a critical next step that distinguishes the best copywriters.

Chapter 17: The Editing Process

The editing process is highlighted as "one of the most valuable secrets to effective and persuasive copy" and the stage where raw ideas are transformed into a "polished, harmonious, resonant tuning fork" that perfectly vibrates with the prospect. He compares it to polishing a rough diamond into a beautiful gemstone.

Recalling his NYU lecture, Sugarman admits his first drafts are often grammatically poor and disjointed. The "difference between just plain copy and a polished advertising message" lies in what he does after that first draft. He likens writing the first draft to "giving birth" (can be painful or quick) and the editing process to "raising the child" (caring and nurturing).

Axiom 14 defines the core of editing: "In the editing process, you refine your copy to express exactly what you want to express with the fewest words". The goal is to maintain the emotional feel, thought process, and vibration of the original message but with maximum conciseness. This might involve rearranging words, cutting irrelevant words, substituting stronger words, or even adding words for clarity, all while aiming for the "most powerful way but with the fewest words". Unlike writing a book, advertising copy has "space restrictions" and a focused purpose: to motivate prospects to buy.

He provides an example of editing his bathroom scale ad, reducing the word count by nearly 40% (from 66 to 43 words) while maintaining or even improving the meaning and emotional appeal. The advantages of fewer words are that the ad looks less intimidating and the "slippery slide" becomes even shorter, delivering the sales message faster.

He outlines five principles of editing learned from his seminars:

  1. Look for "that" words: Often, "that" and preceding words can be eliminated without losing meaning.
  2. Edit for rhythm: Vary sentence lengths to avoid monotony.
  3. Consider combining sentences: Condense related ideas for conciseness.
  4. Eliminate unnecessary words: Remove words like "the" if they don't change meaning.
  5. Rearrange thoughts so they flow better: Improve logical or emotional progression.

Editing time varies greatly; some ads, like Joe Karbo's Lazy Man’s Way to Riches or Frank Schultz's grapefruit ad, needed little editing, while others require many drafts. Experience helps, as skilled copywriters have "editing mechanisms programmed in his or her brain," allowing copy to flow through a "filter". However, the need for editing can still be unpredictable.

Sugarman criticizes the "lack of editing" in many periodicals, pointing out unnecessary phrases like "Finally, it is important to note that..." that add words without value. He encourages readers to practice editing by taking his examples or any periodical and removing extraneous words.

Computers revolutionized the editing process, making it much easier with word processing programs, spell-checkers, thesauruses, and grammar-checkers. He no longer needed a secretary for drafts after switching to computers in the early 1980s. Time is another editing aid: setting copy aside and revisiting it later allows the subconscious to identify areas needing work.

He advises seeking a professional editor or English major for a final check of grammar, but cautions against accepting all changes if they interfere with the writer's style, especially if grammar rules aren't violated. He uses the example of commas: he prefers fewer commas unless essential for clarity, even avoiding the serial comma in a list of three items.

Crucially, error-free copy is vital because errors "reflects badly on the integrity of your offer" and "raises doubts in the minds of your readers". He cites an irate letter from a reader complaining about "glaring poor grammar usage" in his Consumers Hero ad ("We better not" instead of "we’d better not"). This demonstrates that readers do notice mistakes.

Section Two: Understanding What Works Preview

This section promises "insights and tips on how to write copy" and "revelations of what has worked exceptionally well" during Sugarman's 30-year career. He calls it the "heart of this book" and the "basis for the copy I write and many of my copywriting secrets," an education that "cost me millions to learn".

He mentions his seminar promotional outline included "The 64 Points Every Ad Should Cover". Readers have already learned the 10 graphic elements from Chapter 4. This section will reveal the remaining points: 23 copy elements and 31 psychological triggers to buying. Studying this section is crucial for building a "solid copywriting foundation".

Chapter 18: Powerful Copy Elements Explained

This chapter details the 23 copy elements that copywriters should review for every ad. These build on the understanding that graphic elements (Chapter 4) are designed to get readers to the first sentence.

Here are the 23 elements:

  1. Typeface: Extremely important for personality, emotion, and legibility. Serif type (like this book's text) yields "greater comprehension" (5 to 1 margin) than sans serif. Prioritize legibility over elegance in headlines and headings.
  2. First Sentence: Should be short, easy to read, and compelling to lead to the second sentence.
  3. Second Sentence: Almost as important as the first; must maintain interest and momentum. Delay facts, benefits, or features until later paragraphs.
  4. Paragraph Headings: Primarily designed to make copy look less intimidating and encourage reading. They can introduce material or be entirely unrelated (e.g., "Scrambled Eggs" for a radar speed indicator ad, which no one commented on). Their secondary purpose is to arouse curiosity.
  5. Product Explanation: Explain complex products simply, and simple products in a complicated way (e.g., detailing gold contacts in a smoke detector for an expensive brand). Always ensure all features are sufficiently explained.
  6. New Features: Highlight what makes the product new, unique, or novel, distinguishing it from others.
  7. Technical Explanation: Enhances trust and confidence, making the seller appear as an expert. Using technical terms, even if the reader doesn't fully understand, builds credibility that the seller "really was an expert" (e.g., Sensor watch integrated circuit description, Frank Schultz's grapefruit grading).
  8. Anticipate Objections: If a prospect might have an objection, raise it yourself in the copy instead of ignoring it. Examples: service concerns for a pinball game, or the "ugly" design of the Magic Stat thermostat.
  9. Resolve Objections: After raising objections, it's crucial to honestly resolve them, providing solutions or dispelling concerns. The resolution should "go beyond what people expect" (e.g., modular circuit boards for the pinball game, Gillette's battery life statement).
  10. Gender: Understand the target audience's gender (or both) and their specific interests (e.g., women: color, fashion, family; men: sports, machines, money). Avoid sexual or sexist comments that might offend (e.g., the "Gold Space Chains" ad that drew complaints).
  11. Clarity: Copy should be clear, simple, short, and to the point, avoiding big words that confuse or sound pompous (unless targeting that niche). Technical explanations are the main exception. Conciseness aids the slippery slide.
  12. Clichés: Avoid obvious clichés (e.g., "Here’s the product the world has been waiting for"). Sugarman admits his early ads were "replete with them".
  13. Rhythm: Copy, like music, has rhythm. Vary sentence lengths (short, long, medium) to create variety and avoid monotony. Using "triads" (listing three items in a series, e.g., "hammer, a screwdriver and a pair of pliers") also adds rhythm.
  14. Service: For expensive or hard-to-return products, address service concerns directly and convey ease of service. Mentioning a brand name helps, or elaborate on service options (e.g., Bally pinball's modular circuit boards, Sensor watch's 5-year warranty with a "loaner watch"). Showing a strong commitment to service can overcome major objections.
  15. Physical Facts: Always include all physical facts (weight, dimensions, size, limits, speed, etc.) about a product. Omitting even seemingly insignificant details can give readers an excuse not to buy (e.g., weight of a scale).
  16. Trial Period: (While not a distinct numbered point here, it is mentioned repeatedly throughout the sources, particularly in Chapter 19 under "Satisfaction Conviction") The need for a trial period in direct response offers to allow customers to touch and feel the product.
  17. Price Comparison: Use to establish value, especially for expensive items (compare features) or less expensive ones (compare value). Must be "totally accurate and be 100 percent fair" to avoid legal issues.
  18. Testimonials: Add credibility when from a "credible person or organization". Must match the product (e.g., Wally Schirra for security, Michael Jordan for basketball shoes). "Reverse testimonials" (referring to a competitor's endorser) and "man on the street" testimonials are also effective. Must be authentic to avoid FTC issues.
  19. Price: Consider prominence. Use large type for good prices (a benefit), underplay for expensive items (don't hide, but don't highlight). Position logically (e.g., in the coupon or bolded in copy) to answer the reader's question at any point.
  20. Offer Summary: Summarize the offer near the end of the ad (e.g., "So here’s my offer...").
  21. Avoid Saying Too Much: A common mistake. Edit for conciseness; ask "Is there a simpler way of saying this?". Can often reduce copy by 50-80%. Not saying too much also enhances "mental engagement" (Chapter 19).
  22. Ease of Ordering: Make it easy to order using toll-free numbers, coupons with dotted lines (most effective), or web site addresses.
  23. Ask for the Order: Crucial step often forgotten. Always ask near the end of the ad, once the prospect is "finished selling" and ready to buy.

These 23 copy elements serve as a checklist to identify deficiencies and enhance response. Some (like paragraph headings) have minor roles, while others (like resolving objections) significantly impact credibility.

Chapter 19: The Psychological Triggers

This chapter, considered "fascinating" by Sugarman, explains the 31 psychological triggers that underpin effective direct response advertising. These concepts were learned through "years of failure, experience and gradual insight".

Here are the 31 psychological triggers:

  1. Feeling of Involvement or Ownership: Make prospects mentally "turn the knobs" by imagining holding or using the product (e.g., "Hold the Litronix 2000 in your hand. See how easily the keys snap to the touch."). This "mental energy" fills the mind. "Involvement devices" (e.g., "Put the 'yes' disk into the 'yes' slot") can double or triple response rates in direct mail. TV and the Internet are effective due to sensory involvement. His "mispelled word" ad for a computer created involvement as readers spent hours finding errors.
  2. Honesty: The single most important point. Consumers are smart and detect untruthfulness. Including negative features or flaws upfront and then explaining why they don't matter builds immense trust and increases acceptance of the message.
  3. Integrity: A direct reflection of the writer's personality and integrity, conveyed through truthfulness, clean ad layout, and choice of typefaces.
  4. Credibility: Being believable. For exceptionally low prices, explain why the offer is valid (e.g., large volume purchase, remaining stock). It involves resolving all potential objections, piggybacking on credible platforms (e.g., QVC, Wall Street Journal), using brand names, and appropriate celebrity endorsers.
  5. Value and Proof of Value: Convince customers they are getting good value for their money, often through comparison with other products or by educating them on intrinsic value. This provides the logic to justify an emotional purchase (e.g., Mercedes' technology justifying its emotional appeal).
  6. Justify the Purchase: Address the question "Can I really justify this purchase?" directly. Provide reasons such as "You deserve it," savings, health benefits, or recognition. Higher price points require more justification.
  7. Greed: A strong motivating factor, especially for bargains. Offering "more than what is normally received for the price" appeals to greed. Too low a price may require justification to maintain credibility.
  8. Establish Authority: State something that establishes your company's authority, size, position, or expertise (e.g., "America’s largest single source of space-age products"). People prefer to do business with experts. Can be established subtly through copy or layout.
  9. Satisfaction Conviction: Go beyond a standard trial period by demonstrating extreme confidence in the product. It conveys, "I'm so convinced you will like this product that I'm going to do something for your benefit to prove how incredible my offer is". Examples: personally arranging pick-up at author's expense, or refunding membership fee plus interest even if no purchases were made (Consumers Hero). It resolves last-minute resistance by going "beyond what people expect".
  10. Nature of Product: Understand each product's "unique personality" and how to present its "drama" to motivate the largest number of people. Examples: Midex burglar alarm (serious, easy to install), a toy (fun), a blood pressure unit (serious medical device).
  11. Prospect Nature: Understand the emotional needs and motivations of the target prospect (e.g., college students joining a fraternity for social interaction and meeting girls). Matching the product's nature to the prospect's emotional needs is key.
  12. Current Fads: Be aware of popular trends (clothing, expressions, product categories) to "harmonize" with them. Capitalize on fads to generate demand or publicity (e.g., bicentennial merchandise, banning women snowmobile drivers, bra-shaped pizza). Fads can die quickly, so timing is crucial.
  13. Timing: Crucial for fads (enter early, exit after peak) and product introductions (is the market ready?).
  14. Linking: Relate the new product or concept to something the consumer already knows and understands to create a mental "bridge". Examples: smoke detector as "The Nose," gold contacts for quality, "The Mafia Auto Gadget" (remote car starter). Avoid using outdated or negative links. Used for "miracle products" by finding relatable phrases (e.g., "vitamins for your car").
  15. Consistency: Make the first sale simple and small to encourage a commitment. Once a prospect becomes a customer, they are primed for consistent future purchases ("upsells"). Keep the initial offer simple, then offer additional items on the phone.
  16. Harmonize: "Go with the established way of doing things" and "pattern yourself after what is working" to meet market needs first. If a product doesn't harmonize with the market, it needs to be changed (e.g., APF calculator failed because it didn't harmonize with market price perception). "The customer is the king".
  17. Desire to Belong: A strong motivator; people buy products to subconsciously identify with a group that owns or uses them (e.g., Mercedes, Marlboros).
  18. Desire to Collect: A natural human instinct. Capitalize on this urge for collectibles and other products (e.g., offering different watches to existing watch owners). Even silly collections (like airline tails) can appeal to this.
  19. Curiosity: The strongest motivating factor in mail order because prospects cannot touch or experience the product. Tease and hold back part of the story to arouse curiosity (e.g., BluBlocker sunglasses not showing the view through the lens on TV, selling a calculator without a picture). This technique also works for books and even "impossible" products like perfume on TV.
  20. Sense of Urgency: Provide an incentive or reason to buy now to prevent delaying tactics ("Out of sight, out of mind"). Must be truthful (avoid deceitful claims like "we'll be sold out"). Can be conveyed through limited editions, price rises, product shortages, or shipping methods (e.g., "Buy now so you can start enjoying the benefits of my product tomorrow," "ship via FedEx if you order by X date"). Always placed at the end of the ad.
  21. Fear: A great motivator that causes action. It is part of the sense of urgency (fear of missing out on an opportunity). Can also sell preventives if strong enough (e.g., flu virus leading to purchases of immune-boosting products).
  22. Instant Gratification: Retail's big advantage. Compensate in mail order by emphasizing prompt shipping and quick delivery (e.g., Dell and Gateway's next-day delivery).
  23. Exclusivity, Rarity or Uniqueness: Make prospects feel special, part of a limited group, or that the item has potential future value. Example: Sugarman buying an extra snowmobile simply because it was one of only six in the world.
  24. Simplicity: Keep copy, product positioning, and the offer as simple as possible. This doesn't mean "writing down" to readers, but using simple, easy-to-understand words. Simple layouts generally lead to higher comprehension. Offering too many choices can be "very dangerous" (e.g., Swiss Army watch test: one style sold better than nine). Avoid complicated offers (e.g., Miracell's complex dosage, simple offer won out).
  25. Human Relationships: Relate the product in human terms (how it fits, feels, looks). Buying is an emotional human experience. Create "harmonic resonance" (like tuning forks vibrating together) by getting the prospect to agree. Use stories, bylines (first-person voice), conversational tone, humor, or pictures of human hands holding products.
  26. Storytelling: People love stories, which create an emotional bond and keep prospects "riveted and listening". Stories have lessons, share experiences, and can excite or surprise. Effective for creating human interest, building curiosity, and engaging the prospect (e.g., BluBlocker ad's discovery story). Starting with a story is good for holding attention.
  27. Mental Engagement: The more the mind "must work to reach a conclusion that it eventually successfully reaches, the more positive, enjoyable, or stimulating the experience". Advertising that engages all four brain parts (thought, intuition, sensation, emotion) tends to be successful. Avoid making copy too obvious; provide "a little suspense" so the reader uses intuition and thought to draw conclusions. Example: Seiko watch ad implying jewelers' high profit without explicitly stating it.
  28. Guilt: Created by providing compelling information and "reading entertainment" (instead of physical gifts) that makes readers feel an obligation to respond. Repeated ads or mailings can also create a slight sense of guilt.
  29. Specificity: Builds credibility by using exact facts and figures instead of vague claims ("Ninety-two percent of new dentists..." vs. "New dentists everywhere..."). Makes the copywriter sound like an expert, building trust and confidence.
  30. Familiarity: Seeing a familiar advertising format, logo, or company name creates a feeling of familiarity, like seeing a friend in a foreign setting. This builds trust and confidence. Avoid discontinuing successful campaigns just because the advertiser is tired of them. Use familiar words (e.g., the number 7, the color "red") that resonate with the public.
  31. Hope: A great motivator that implies a future, unassured benefit from using a product or service (e.g., face cream for wrinkles, golf ball for better game, vitamins for health). Avoid making specific, measurable claims; instead, imply results through testimonials. Credibility of the advertiser is crucial for hope to work.

Chapter 20: Selling a Cure, Not Prevention

This chapter reveals one of the "least understood reasons" for product failure: understanding human nature regarding cures versus prevention. The guiding principle is Axiom 15: "Selling a cure is a lot easier than selling a preventive, unless the preventive is perceived as a cure or the curative aspects of the preventive are emphasized".

Sugarman explains that people are willing to pay significantly more for a "cure" than for a "preventive" (e.g., $1,000 for a cancer cure vs. $20 for a prevention pill). If you have a product that offers a cure and a large enough market, it's a "powerful product".

He demonstrates how a preventive can be positioned as a cure with "The Pill," a fuel-conditioning treatment for automobiles. While it prevents engine problems and helps pass emissions tests, when he presents it on TV, he emphasizes its curative aspects: "It cures engine knock, it eliminates ping, it saves up to 10 percent on gas. If you flunk your emissions test, use The Pill and you’ll pass the next time". He even feels compelled to "swear that The Pill really works," highlighting that selling truly breakthrough products is difficult because people find them hard to believe. Belief, he states, is one of the strongest motivational factors in human nature. This understanding is vital for selecting and positioning products.

Chapter 21: Rating Your Writing Level

To help copywriters measure their communication clarity, Sugarman introduces Robert Gunning's Fog Index, which determines the reading grade level of copy. A lower grade level means a wider audience. For example, best-selling books are typically 8th to 10th grade level, while Time, BusinessWeek, and The Wall Street Journal are 11th grade.

He provides the seven steps for calculating the Fog Index:

  1. Take a sample of 100-125 words from the beginning of the ad.
  2. Count words in each sentence (dates/numbers = one word, independent clauses = separate sentences).
  3. Divide total words by sentences to get average sentence length.
  4. Count long words (three or more syllables), excluding short-word combinations (like "pawnbroker"), proper names, and verbs with "-ed" or "-es" endings.
  5. Divide the number of long words by total words to get the percentage of long words.
  6. Add the average sentence length to the percentage of long words.
  7. Multiply this total by 0.4 to get the grade level.

He applies this to his "Vision Breakthrough" ad's first 102 words. With 3 long words and 11 sentences, it yielded an average sentence length of 9.3 words and 2.9% long words, resulting in a Fog Index of 4.9 (understandable at about the fifth-grade level and above). Subsequent blocks of copy in the same ad had similar or slightly higher reading levels. He suggests testing different blocks for consistency. This tool helps in understanding the impact of multisyllabic words and long sentences on comprehension and audience resonance. The "Vision Breakthrough" ad's success correlated with its clarity. While clarity is paramount, he cautions against obsessing over low scores at the expense of common sense, emphasizing varying sentence lengths and using three-syllable words when necessary for the specific audience.

Chapter 22: Seven Steps to Writing Great Copy

Sugarman distills the entire copywriting process into a simple seven-step formula:

  1. Become an expert on the product or service: This is the best source of great ideas.
  2. Know your prospect: Understand what motivates them and who your typical customer is, which generates good ideas.
  3. Write your headline and subheadline: They must "grab the reader and create enough curiosity" to lead to the first sentence. Headlines should be short (e.g., "Vision Breakthrough," "Pocket CB," "Pocket Yellow Pages"), subheadlines around 16 words, and first sentences as short as possible.
  4. Write the copy: "Don’t worry about sentence structure, grammar, punctuation—just start writing and keep writing". Let all thoughts flow freely, especially on a computer, which is ideal for editing.
  5. Edit your copy: Correct spelling, grammar, punctuation, and sentence structure. "Eliminate extra words not necessary to express your thoughts. Tighten things up".
  6. Incubate: Stop editing, put the text aside, and do something pleasurable. Allowing time away from the text allows the subconscious mind to work and refine the copy. Returning to it even the next day can reveal new insights.
  7. Take a final look at your copy: This final review will help catch more errors and further refine the copy. Steps 5 and 6 can be repeated until satisfied.

He guarantees that by following these steps and understanding the principles, one will improve with each ad written. Sugarman reiterates that readers have learned "most of the copywriting techniques" he taught in his seminars, including concepts he discovered later in his career, and have "learned from my failures—an education that has cost me dearly". This knowledge, which seminar participants paid up to $3,000 for, is now available to the reader. The next section will apply this knowledge to actual ad examples for "greater understanding and clarity".

Section Three: Proving the Points—Ad Examples Preview

This section serves as a "fine-tuning" phase, showing how the principles and theories learned in Sections One and Two apply to complete ad examples. In his seminars, Sugarman used slides of his own ads, competitors' ads (those who copied his format), and later, successful ads created by his former students. By the end of the course, students could critique ads and create "great advertising copy" themselves. He includes some of his "famous JS&A mail order ads" for their importance and entertainment value, noting that his enthusiasm and commentary might come through. These examples also help understand marketing in TV.

Chapter 23: The Lazy Man’s Way to Riches

This chapter analyzes Joe Karbo's classic mail order ad for his book, The Lazy Man’s Way to Riches, which sold 3 million copies. Karbo wrote the ad quickly, with "practically no editing involved," demonstrating that powerful copy can be created without extensive revision. The ad ran for many years in hundreds of magazines.

Ad Analysis:

Sugarman notes that Karbo's copy became more wordy over the years to include more testimonials and examples for a broader market. He laments Karbo's tragic death from a heart attack during an unfair TV interview. Karbo's ad remains a "classic" and his "biggest and best shot in the mail order business".

Chapter 24: A Fluke of Nature

This chapter analyzes Frank Schultz's grapefruit ad, written after attending Sugarman's seminar, which became a "classic long-running mail order ad of the decade" despite Schultz having no prior print mail order experience. Schultz, a marketing graduate from Berkeley, had previously seen his direct response agency's ads fail.

Ad Analysis:

Schultz's ad was a "huge success," yielding the "lowest cost per order" and driving "rapid growth" for his company. Despite growing into a large business with 80,000 customers and 14,000 acres, the ad maintained the image of a small, personal farmer. The ad became a classic, receiving compliments from figures like Stanley Marcus.

Chapter 25lippery Slide Opening & Storytelling:** The copy begins in large type: "WE WERE ASTOUNDED! When we opened the doors of our new business, we thought most of our customers would be women." It then tells a story of men "in droves" on Valentine's Day, "secretly dying to visit our boutique," admiring various lingerie items. This visual storytelling engages the reader and pulls them in.

Fatal Flaw: The ad's main problem was at the most critical point—the end. It failed to address the return policy for the $2 catalog or any merchandise. Sugarman suggests it could have offered to apply the $2 catalog fee towards a first purchase, which would have been a strong "hook". Despite this, the ad was moderately successful in generating catalog requests and sales. It was a good example of timely objection resolution, compelling storytelling, and environment creation. Sugarman would have also added a byline for more personalization.

The chapter notes that the early Victoria's Secret catalog was more sensuous. Two Victoria's Secret advertising personnel, who attended Sugarman's seminar, credited it as a "major factor in the early success" of the brand. The ultimate lesson is that "you can write a great ad but then miss some important opportunities at the end," a critical point where buying decisions are made.

Chapter 26: The More You Learn

This chapter analyzes an advertisement with a "major flaw" that significantly hindered its potential. The ad was for the McDonnell Douglas DC-10 airplane, appearing after a series of crashes had severely damaged its public image in the mid-1970s. McDonnell Douglas hired former astronaut Pete Conrad as a spokesperson to address public concern [517,'s core problem was that it "totally ignored" the public's real objection: the plane crashes. It tried to resolve the problem by listing positive facts without acknowledging the negative publicity that prompted the ad. Sugarman describes it as "hollow" and implies it might have left readers with a sarcastic impression like "Sure it’s a safe plane...".

Sugarman's Proposed Version:

The Difference: Sugarman's version explicitly raises the "real problem (or as I call it, the 'objection') and then resolve[s] it". This approach creates a positive feeling of sincerity, integrity, and leadership, as it shows concern and frankness.

The crucial lesson: "realize the importance of raising an objection, regardless of how embarrassing or detrimental it may seem, and then doing your best to resolve it". Public appreciation for candor and honesty leads to a positive response, whether for sales or restoring confidence in a company or product.

Chapter 27: A More Stimulating Way

This chapter critiques a Sony Video Communications ad that Sugarman describes as a prime example of an ad that was inadvertently "boring". The agency's concept was to contrast "typical types of boring communications" with their "new, more stimulating video presentation".

Ad Analysis:

The crucial lesson: "Being consistent while going in the wrong direction is not a great strategy". To stand out among thousands of daily ad messages, an ad needs to grab attention and compel readers to read the entire message using the techniques outlined in the book. Sugarman's proposed approach would have been to "create a story of somebody who switched to video and saw a dramatic benefit" (e.g., more sales, greater productivity). He concludes that even an "inexperienced person can write an incredibly effective ad" after reading his book, enabling them to "criticize even the most professionally prepared ads".

Chapter 28: Magic Baloney

This chapter analyzes a JS&A mail order ad for the Magic Stat thermostat, which employs a unique storytelling approach: starting with hating the product and then, as the story unfolds, revealing its transformation into "the best product on the planet".

Ad Analysis:

The Lesson: This ad masterfully demonstrates how to **turn a product's worst aspects into story about his lack of use of the plane and his concern for his mechanic/pilot, Dave, who he would have to lay off if the plane was sold. This narrative weaves in all the plane's good features subtly.

The Lesson: This ad demonstrates that humor can be highly effective if it is friendly and self-deprecating, and doesn't overshadow the serious sales message. It also reiterates the power of personal storytelling and establishing credibility through detailed (even if humorous) explanations of product care and quality.

Chapter 30: Mail Order Mansion

This chapter highlights Sugarman's audacious ad to sell a $6 million Malibu mansion via mail order.

Ad Analysis:

Ad Analysis:

Ad Analysis:

The Lesson: This ad is a perfect example of how a storytelling approach combined with a strong educational message, effectively building curiosity, and offering a powerful satisfaction conviction, can lead to massive success and the creation of a lasting brand. It highlights the "power of the pen".

Chapter 33: Gold Space Chains

This chapter analyzes a controversial ad for gold chains that appeared in the JS&A catalog in 1978. Sugarman acknowledges his "insensitivity to women’s issues at the time" regarding this ad.

Ad Analysis:

The Lesson: This ad demonstrates that controversial or seemingly "insensitive" copy can still achieve success due to external factors (like a sudden market shift in gold prices) and the strength of other copywriting elements (storytelling, building intrigue). However, it also serves as a cautionary tale about the importance of being sensitive to the audience and avoiding potentially offensive content, even if it might coincidentally lead to sales.

Chapter 34: Consumers Hero

This chapter presents the "Consumers Hero" ad, which take a risk". The bolded copy immediately clarifies the concept: "Impossible-to-trace Guarantee—We guarantee that our stolen products will look like brand-new merchandise without any trace of previous brand identification or ownership.". This compels immediate reading, pulling the prospect down the slippery slide.

The Lesson: This ad is a masterful display of the slippery slide theory, expert use of human connection (without humor), upfront $100 after it stopped selling at retail. The manufacturer, wanting to protect its retailers, insisted the product not be advertised at a discount; it had to be sold at its full retail price of $485.

Novel Strategy: Sugarman's solution was to offer the product at $500, more than retail. However, readers who found misspelled words in the ad would receive $10 off per misspelled word. If they found 25 misspelled words, the price would drop to $250, the second is in our lower backs. JS&A intends to do something about both problems." – sets a humorous and engaging tone, linking the ad's gimmick to the product's benefit.

Results: Sugarman had two surprises:

  1. Higher Profit: Most people missed many words (found ~20 out of 25 actual), leading to higher profits than Your Copywriting Skills Preview This section assumes the reader has "understood and mastered" the material from Sections One and Two, including writing great copy, building the slippery slide, understanding psychological triggers, and the importance of satisfaction conviction. The goal now is to apply these principles to enhance all communication skills, across various media, with the understanding that "some principles are more important than others depending on the format or the medium". For instance, on the Internet, interactivity is crucial because prospects must click buttons or links. The rest of the handbook will detail how to write copy for different formats and will include marketing information, as copywriters need to understand the best ways to market products in specific media.

Chapter 36: Writing for Different Media

This comprehensive chapter applies Sugarman's copywriting principles to various media formats.

  1. Persistence: His unwavering determination; he "doesn’t easily give up" and "played hard".

Sugarman views writing this book as stepping "out of the trenches" to share the knowledge acquired from years of "battle" and introspection. He quotes Claude Hopkins, an advertising pioneer, who stated that those who gain extensive knowledge owe a statement to their businesses, and he hopes this book will contribute to a lasting legacy.