David Ogilvy

The most famous copywriter, real or fictional

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On Dan Heath’s new podcast, “What It’s Like To Be,” I heard Dan asking a TV meteorologist, a criminal defense lawyer, a forensic accountant, all the same question:

“Who’s the most famous meteorologist/criminal defense lawyer/forensic accountant, real or fictional?”

This got me wondering who the most famous copywriter might be, real or fictional.

I had a gut feeling. I double-checked via simple Google search, by looking at the total number of results.

As far as real copywriters go, there’s really only one possible option for a copywriter that a rando off the street might know.

​​That’s David Ogilvy.

There’s something about the pipe, the smart suits, the English disdain, the French castle.

Sure enough, Ogilvy was the only real copywriter who has more than 1M indexed Google results about him.

As for fictional copywriters, it depends on who you consider a copywriter.

Don Draper, the creative art director from the TV show Mad Men, clocks in at over 2M Google results.

But was he really a copywriter or more of an idea man? I’ll let you decide.

Meanwhile, the most famous, fictional, 100% copywriter that I’ve been able to find is Peggy Olson, also a character on Mad Men, who only gets around 220k Google results.

Should we stop there? Oh no.

It turns out several celebs out there have a copywriting background… but are not today known as copywriters.

One of these is novelist James Patterson. Before Patterson set out to write 200 books (and counting), he was a copywriter and later the CEO of J. Walter Thompson, one of the biggest and oldest ad agencies in the world.

Patterson has 6M+ Google results to attest to his fame.

And if we’re already going with celebrities who have copywriting in their history, and maybe their blood, then we get to the most famous copywriter of all time, real or fictional, live or dead, even though nobody nowhere would identify him as a copywriter.

I’m talking about F. Scott Fitzgerald. Fitzgerald worked for a time as a copywriter before becoming the author of the quintessential great American novel, The Great Gatsby, and later a topic of almost 13M Google results.

So there. Now you know. And now you might ask yourself, “What did I just read? Did I really need this in my life? How did I wind up at the bottom of this email?”

If any of those questions is flitting through your head, let me point out that interest in famous people seems to be hardwired into our brains.

Tabloid writers and sales copywriters know this fact well, and they use it over and over and over. Because it works to draw attention and get people reading, day after day.

That’s a free lesson in copywriting.

For more such lessons, including ones that you might not be able to shrug off by saying, “I guess I knew that,” you will have to buy my Copy Riddles course.

The whole big idea behind Copy Riddles is the appeal of famous people — at least famous in the small niche of direct response copywriting.

I mean, on the sales page, in place of a subheadline, what I have is a picture featuring Gary Halbert, Gary Bencivenga, Stefan Georgi, and Ben Settle, all of them celebrities in the micro world of direct response, all of them paid off on that page as being integral to the course.

If you’d like to buy Copy Riddles, or if you simply want to read some gossip about famous copywriters, then head here and get ready to be amazed and shocked:

https://bejakovic.com/cr/

Remembering David Ogilvy

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Today is November 29th, which is neither the birthday nor the deathday of David Ogilvy. Still, I thought it might be a good idea to take a moment and remember the great man.

Because, as with another copywriting legend, Gary Halbert, the greatest promotion that David Ogilvy ever did was in promoting himself.

Today, more than 50 years after his heyday, Ogilvy remains the most famous ad man in history, and is really the only copywriter that a normie off the street might have heard of.

Why is that?

What lies behind Ogilvy’s enduring fame?

The way I figure, it comes down to three things.

​​Some part of it secret personal charisma.

Some part of it is luck.

And some part is the actual work Ogilvy produced.

Charisma and luck cannot be taught. Well, they can, but this is not that kind of newsletter. This is a newsletter which focuses on work — and how to make the work that you do more impactful, influential, long-lasting.

So what exactly did Ogilvy do? When I think of the man’s work, three snapshots come to mind:

1. The Rolls-Royce ad, “At 60 miles an hour…” That campaign shows you the value of being associated with a top-tier product, which largely writes its own advertising.

2. The man in the Hathaway shirt. The eyepatch. That shows you the power of creating a spectacle, of being instantly perceived as unique.

3. A 7-word soundbite Ogilvy wrote once, which I will not quote here, but which I bet you have heard before.

I bet you’ve heard it because I’ve quoted it before in this newsletter, and so have 99% of people who write about advertising, whether they knew it came from Ogilvy or not.

There’s some magic to this soundbite that makes it stick in people’s minds and that makes them want to repeat it — even though Ogilvy wrote it as just a throwaway in the middle of a 12,000-word ad.

Maybe you know the 7-word soundbite I have in mind.

Maybe you even know the magic that makes it stick in people’s minds beyond the millions of other words that Ogilvy wrote in his 50-year career.

And if you don’t know, but you think it might be in your interest to know, then you can find out all about it during the third call of my upcoming Age of Insight live training.

Registration for Age of Insight closes tomorrow, Wednesday, at 12 midnight PST. But I am only making this training available to people who are on my email newsletter. If you want to get in on the training, then hurry to get on my newsletter and pray that you are in time.

Factual vs. emotional

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As I so often do, this morning I sat down at my writing desk, took a sip of my coffee, lit my pipe, put on my eyepatch, and started re-reading, for the 114th time, David Ogilvy’s self-promotional ad, How to Create Advertising That Sells.

As you probably know, Ogilvy’s ad is a collection of 38 bits of wisdom that Ogilvy learned by creating “over $1,480,000 worth of advertising.” Number 23 on the list is this:

23. Factual vs. emotional. Factual commercials tend to be more effective than emotional commercials.

However, Ogilvy & Mather has made some emotional commercials which have been successful in the marketplace. Among these are our campaigns for Maxwell House Coffee and Hershey’s Milk Chocolate.

I don’t know about you, but it sounds to me like Mr. Ogilvy is saying, “Certainly, emotional ads have been known to work… but it takes a true expert, someone like me, to pull it off. Otherwise, best stick to facts, facts, facts, or your advertising will pass like a ship in the night.”

That goes against a lot of copywriting advice you hear today.

Today, the main advice for copywriters is to agitate, scare, excite, outrage. Pile on the power words. Don’t tell people facts. They don’t care. But stir their emotions and they will buy.

So what gives? Was Ogilvy just writing at a different time? Or do different rules apply you promote Hershey’s Milk Chocolate in Life Magazine than when you promote, say, ProstaStream supplements on Clickbank?

Well, I can tell you a little personal story.

The single piece of copy that has paid me the most money to date, per word written, was a 317-word email I wrote a couple years ago, in 2020. It was full of facts, to support the idea that using hand sanitizer won’t get your hands as clean as washing your hands with soap and water. We were selling “paper soap” — little dental-floss sized dispensers of one-time soap flakes. And thanks to that fact-filled email, we sold, literally, a ton of paper soap.

“Yeah,” I hear you say, “but that was a unique moment. There was a lot of fear around corona, and everybody was in the mindset to keep their hands clean or die. You were just tapping into that.”

You’re right. And in a way, that’s the point.

Facts alone are like pebbles by the side of the road.

They’re not very impressive. Not very threatening. Not very useful.

But take some of those facts, and put them inside your prospect’s shoe. Suddenly, you have him squirming, and twisting, and looking to get rid of that discomfort and pain. And not only that. You have him taking that discomfort and pain with him — unlike power words and emotions, which are like a cloud of smoke that disappears in a few moments.

The bigger point is that, ideally, all aspects of your copy, or anything else you write, should do double or triple duty. Facts are no different.

Sure, facts provide concreteness and believability. But choose the right facts, and you will stir emotions also. After all, who really cares that, at 60 miles an hour, the loudest thing in this Rolls Royce is the electric clock? There must be something else going on there.

And now here’s a fact:

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Rolls Royce copywriting portfolio

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You probably know the famous Ogilvy Rolls Royce ad:

At 60 miles an hour the loudest noise in the new Rolls-Royce comes from the electric clock

Wouldn’t it be nice to write ads like this all the time?

Wouldn’t you like to simply highlight the classy superiority of the product that you’re selling, instead of teasing people with the amazing secret of the one-legged accountant… or prophesying “The End of America”… or promising a passive monthly income of $5,378… $7,442… yes, even $11,246 — no cash, credit, or skills required?

Well, if that’s what you’re dreaming of, then all I can tell you is, be David Ogilvy. Because even though Ogilvy was a big fan of direct response, this electric clock thing is an ad for a brand.

Back in 1958 when this ad came out, American consumers already knew Rolls Royce well. In fact, they already knew that Rolls Royce was the fanciest car brand around. The electric clock thing was just a dramatic illustration of that.

That’s not to say you couldn’t do something similar in a direct response ad. You just need to have a brand that your audience already knows and likes. Those do exist, at least for very small and tight pockets of people.

But if you ain’t got a brand like this, then you’ll be better off calling out a problem or making a big promise. No cash, credit, or skills required.

But you probably already know this. The only reason I bring it up is in case you’re fresh to direct response copywriting. In that case, maybe you’re wondering why Ogilvy’s ad — celebrated even by Gary Halbert — looks so different than your typical direct response piece.

Actually, there’s a second reason I bring it up.

It’s because it’s relevant to that other newbie question, about creating a copywriting portfolio. Because everything I’ve just told you is basically the best advice I can give to anyone looking to create a portfolio.

Perhaps the portfolio point I’m trying to make is obvious. Perhaps it’s not. In any case, I’ll spell it out in my email tomorrow.

A sales letter with negative traffic cost and highest quality leads

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“Ogilvy & Mather has had more success with editorial layouts, than with addy layouts. Editorial layouts get higher readership than conventional advertisements.”
— David Ogilvy, How to Create Advertising that Sells

One of the turning points in my marketing career was hearing a talk that Hollis Carter gave at Mindvalley.

Back then, Hollis was already a successful entrepreneur. His venture at the time was a publishing house for Amazon Kindle books.

You can do anything with a Kindle book, Hollis said.

You can rank on Google for a competitive keyword… you can build authority… you can prospect for leads.

Hollis did a reframe to drive the last point home. A Kindle book is basically a sales letter, but Amazon distributes it for you to their huge audience… and even pays you for getting your sales message out.

Sounds pretty good, right?

And it ties into what I talked about yesterday, on how to write a magalog. Magalogs were a powerful sales format precisely because they looked and read like magazines. Camouflage works, just like Ogilvy says above.

Do you want to camouflage your sales message into a Kindle book? If you do, then much of yesterday’s advice on how to write a magalog will apply straight up.

But beware.

With a Kindle book, you’ll want to cut down the sales even more than in a magalog. And you’ll want to stuff your pitch towards the end of the book. Otherwise, you risk a ton of bad reviews.

For example, I once created a Kindle book called The Little Black Book of Essential Oil Scams. The goal was to promote another book I’d written about aromatherapy.

Inside the “Scams” book, I put a bunch of interesting and valuable content for anyone new to essential oils. I also added three mini sidebars throughout, promoting the second book I was selling.

Result?

Amazon reviewers were ready to lynch me. “Just a shameless sales pitch!”

So I learned my lesson. And when I published the 10 Commandments of A-List Copywriters this last September, I put my shameless pitch towards the end of the book.

I also shamelessly asked people just to sign up for my email list, rather than to buy anything outright. A bunch of people signed up for my email list… and I haven’t had any bad reviews yet.

So let me wrap it up for you. A few days ago, a reader of my daily emails named Yusuf wrote in to ask:

“What would you be doing if freelance copywriting made you zero dollars?”

I told Yusuf that if freelance copywriting completely dried up, I’d probably start writing books on Kindle.

​​I’d make a bit of money from the sales of the books themselves… and then get readers to sign up for an email list and sell them something else.

Because people who have read your book will be some of the highest quality leads you will ever find. That is, assuming that you’ve given them unusual value in your book… without scratching their itch all the way.

Speaking of which, I sometimes share things in email that I never put on this blog. If you’d like to be part of my exclusive and valuable email community, click here to subscribe.

“A hell of a habit to get into and just about as hard to get out”

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David Ogilvy, a stylish copywriter who started one of the biggest marketing agencies in the world, once wrote that, of the “six giants who invented modern advertising,” at least five were gluttons for work.

One of Ogilvy’s marketing giants was Claude Hopkins, who may have been the first A-list copywriter of all time.

​​A century ago, Hopkins amassed a fortune by writing profit-generating ads for big brands, many of which still survive today — Palmolive and Quaker Oats and Pepsodent.

He also wrote a book called Scientific Advertising, which has become a kind of bible in the field. (According to Ogilvy, nobody should be allowed to have anything to do with advertising until he has read this book at least seven times.)

Hopkins was certainly a glutton for work. He worked 16-hour days, every day, including Sundays — his “best working days, because there were no interruptions.”

Sounds horrendous, right? But here’s the thing that struck me about Claude Hopkins and his love of work. From his autobiography, My Life in Advertising:

“All the difference lay in a different idea of fun. […] So the love of work can be cultivated, just like the love of play. The terms are interchangeable. What others call work I call play, and vice versa. We do best what we like best.”

In other words, work can become fun, if you work at it. Maybe you find that thought encouraging. I know I sometimes do.

Other times, though, all I remember is what Hemingway said about work: “It’s a hell of a habit to get into and it’s just about as hard to get out.”

So what’s my point? No point. It’s Sunday, after all, a day of rest for non-gluttons. Enjoy and relax. We’ll get back to points, well-made or not, tomorrow.

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Puerto Rico

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I don’t know much about Puerto Rico except two things:

1) It gets regularly flattened by hurricanes

2) “International Man” Simon Black praises it as a good place to do business

Neither of those makes me really want to visit the place.

But I’m reading David Ogilvy’s “On Advertising” right now. Ogilvy is famous in copywriting circles for his Rolls-Royce ad:

“At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock”

Along with Rolls-Royce, Ogilvy also wrote copy for many other massive corporate accounts. ​American Express. Shell. IBM. But he didn’t do advertising for products and companies only.

Ogilvy also sold countries.

His advertising agency produced big tourism campaigns for England, France, and, most famously, Puerto Rico. As Ogilvy says in his book:

“The biggest obstacle to tourism in Puerto Rico was its image. Research showed that people believed it to be the dirtiest, poorest, most squalid island in the Caribbean. Nothing could have been further from the truth, and this I demonstrated in advertisements. Tourism increased by leaps and bounds.”

Ogilvy created ads for Puerto Rico that captured attention… overcame objections… told a story… and most important, created a vision.

Do you want to see how?

Then check out the following ad for Puerto Rico from 1958, and see how Ogilvy creates vision, both through copy and through the image (taken by famous penny-pinching photographer Elliott Erwitt):

How big is your…?

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I saw the following size-measuring question today:

“How big is your confidence in copywriting? I know this is the softest metric of one’s success, but I wonder greatly. How confident are you in your job and what’s your confidence based on?”

This is honestly not a question I’ve thought about ever.

I don’t worry about confidence. Instead, I think about having a system for moving forward, and about following that system. As long as I do that, I feel I’m safe.

(Or maybe I’ve been influenced too much by dating coach Tom Torero, who said something like, “Confidence is just when you’ve seen the same situation many times over.”)

But if you’re looking to start out as a copywriter, maybe this doesn’t help you.

So let me give you another quote, this one by Claude Hopkins, the great-grandfather of modern direct response marketing.

(About a century ago, Claude wrote a book called Scientific Advertising, which the famous David Ogilvy, the “King of Madison Avenue,” said is so important that “nobody, at any level, should be allowed to have anything to do with advertising until he has read this book seven times.”)

Anyways, back when Claude was just a wet-behind-the-ears lad working for peanuts at the “Felt Boot Company,” he got to talking to a successful businessman in his town.

The businessman was impressed when he heard that Claude would work from 8 in the morning until after midnight, and be back the next morning for more of the same.

So the big businessman offered Claude a new, higher paying job. And here’s what Claude concluded from this:

“In the early stages of our careers none can judge us by results. The shallow men judge us by likings, but they are not men to tie to. The real men judge us by our love of work, the basis of their success. They employ us for work, and our capacity for work counts above all else.”

Maybe this will help you if you are agonizing about where you are on the copywriting totem pole.

And in case you want to grab a free copy of that “must-read” Claude Hopkins advertising Bible, so you can add a bit of length or girth to your copywriting confidence, then here’s where to go:

https://www.scientificadvertising.com/ScientificAdvertising.pdf