CONNECTIVES: The Copywriting "Trick" To Help You Make And Complete The "Perfect" Ad:

tbh I would wanna connect buyer to seller in the max kinda MWAH MWAH MWAH arrangement.

& bcs they srs individyools seekin' sumthin' catalytically smart from such a Once In A Cosmos link-up,

natchrlly we gotta balance Strategy Sourced From The Proven gainst Dreamola Might Kinda Work Out Bettah bcs the fyooture got a habit of nevah existin', evah ...

an' yet there we must all step out togethah.

Discourse progresses from epoch of whatevah to epoch of whatevah, an' sumtimes we gotta shelter under an umbrella, sumtimes we gotta hit the beach in our Juicies.

So, yeah -- connectivity.

Past & fyooture.

Me & you.

Here & now.

Less'n we all got equill hold on this eternally diverse arc of evidently manifestible possibility, we prolly jus' stoopid.

Jus' gotta be sure not to get lost off on the duds on the road to incandescent glory, I guess.

(I say this to my stylist evry time she braves my frickin' rat tails an' it ain't got me stabbed in the brains with no scissors so far, which is why I proffer it here as WISDOM 'PON WHICH YOU MAY DERIVE SUCCOR steada ... yeah actschwlly you bleedin' to death from the cerebellum now ... shoulda gone down the road to the totally unchatty perfumed ponce guy an' paid extra for the privilege of bein' licked in the ass by his Beyond Unattractive Pseudo-Frickin-Pooch kinda thing.)


tbh, sounds like a rhetorical question to Moi, so I won't ansah jus' in case I get mistaken for a mug when the trooth catches up with my ass in the afterlife.

I refer to these as transition words - but your phrase works also...

Transitions clarify the logic of your argument by orienting your reader as you develop ideas between sentences and paragraphs. These tools should alert readers to shifts in your argument while also maintaining the smoothness and clarity of your prose. Below, you'll find some of the most commonly used transition categories and examples of each.

Depending on the example, these suggestions may be within sentences or at the beginning of sentences.

1. Addition - use when presenting multiple ideas that flow in the same direction, under the same heading/ idea:

also, another, finally, first, first of all, for one thing, furthermore, in addition, last of all, likewise, moreover, next, and, second, the third reason

2. Sequence/ Order - use to suggest a temporal relationship between ideas and places evidence in sequence first, second (etc.):

next, last, finally, first of all, concurrently, immediately, prior to, then, at that time, at this point, previously, subsequently, and then, at this time, thereafter, previously, soon, before, after, followed by, after that, next, before, after, meanwhile, formerly, finally, during

3. Contrast - use to demonstrate differences between ideas or change in argument direction:

but, however, in contrast, on the other hand, on the contrary, yet, differ, difference, balanced against, differing from, variation, still, on the contrary, unlike, conversely, otherwise, on the other hand, however

4. Exception - use to introduce an opposing idea:

however, whereas, on the other hand, while, instead, in spite of, yet, despite, still, nevertheless, even though, in contrast, but, but one could also say...

5. Comparison - use to demonstrate similarities between ideas that may not be under the same subject heading or within the same paragraph:

like, likewise, just, in a different way / sense, whereas, like, equally, in like manner, by comparison, similar to, in the same way, alike, similarity, similarly, just as, as in a similar fashion, conversely

6. Illustration - use to develop or clarify an idea, to introduce examples, or to show that the second idea is subordinate to the first:

for example, to illustrate, on this occasion, this can be seen, in this case, specifically, once, to illustrate, when/where, for instance, such as, to demonstrate, take the case of, in this case

7. Location - use to show spatial relations:

next to, above, below, beneath, left, right, behind, in front, on top, within

8. Cause and Effect - use to show that one idea causes, or results from, the idea that follows or precedes it.

because, therefore, so that, cause, reason, effect, thus, consequently, since, as a result, if...then, result in

9. Emphasis - use to suggest that an idea is particularly important to your argument:

important to note, most of all, a significant factor, a primary concern, a key feature, remember that, pay particular attention to, a central issue, the most substantial issue, the main value, a major event, the chief factor, a distinctive quality, especially valuable, the chief outcome, a vital force, especially relevant, most noteworthy, the principal item, above all, should be noted

10. Summary or Conclusion - use to signal that what follows is summarizing or concluding the previous ideas;

to summarize, in short, in brief, in sum, in summary, to sum up, in conclusion, to conclude, finally

This is an interesting subject, thanks for bringing it up.

Now all we gotta do is figure the flux between connectivity & transition an' we sparkin' on up for actschwaan, I guess.

Thing is, I so love these hinnyisms guidin' the way to certainty.

An' I would wanna call 'em JUXTAPOSITIONAL BLENDYJUICY.

Perhaps it is from the indefinable arena of contrast that brightly tangible noo exotica manifests kinda anyways.

That ain't the case, I an Egyptian slave gal tendin' loincloth maintenance for the fyootyure's haplessest saps as they haul rocks about the place steada layin' around inventin' frickin' jeeps.

Words an' phrases for sumthin' that ain't quite anythin' define diversity an' contrast, both as tangibly evident science an' speculative kinda filosophical schwango, an' when we list 'em out, it is like we would wanna grab 'em sweet an' hold 'em close up like kittens.

Yet we reach out only to discovah these meet-up places are tucked away in language's secret vestibule ... an' we can nevah quite touch on their ass.

Spaces inbetween.

Flights to & from.

Shackles & freedom.

Incendiaries cravin' form.

Like Genevieve says in Molly Smithenholme's Victorian smutfest novel Grim Benevolence, "in that fleeting moment, I sensed Lord Ruggerham's desire to seek succour in the warmth of a gaze my family would never permit me to betray. But the rascal had his price also, and when finally we ravaged one another over pickled sweetmeats and opium in London's finest -- yet most secretly debauched -- hotels, I managed to procure his preserved beetle collection for the Wattlestrop-on-the-Thwappe museum and so save my beloved sister Gertrude from the evils of prostutution, possibly even the church."

@AdmanMrWoo - Thank you for your ad, I enjoyed that.

While I was going through my swipe file for the info I posted above, I also found this checklist to use after you've written a sales piece.

1. Is the theme or benefit presented in the headline and lead likely to resonate powerfully with a significant number of your best prospects?

2. Do the headline and lead instantly seize your attention?

3. Are they instantly and completely believable?

4. Do they present compelling benefits the prospect will derive in return for reading this?

5. Do they explain why it is crucial for the prospect to read this right now?

6. Do they establish the qualifications of the spokesperson beyond the shadow of a doubt?

7. Do they sell you on reading the opening?

8. Does the opening copy connect directly with the headline and lead - and intensify your desire to read on?

9. Do the emotions you experienced while reading the copy that follows the open make you disposed to continue reading?

10. Are all key statements of fact supported by sufficient specifics to make them believable?

11. Does the spokesman present a compelling reason why he's writing this or offering this product or service - early in the running text?

12. Is the prospect told why he/she absolutely must read this?

13. Do the spokesperson's personality and conviction come through loud and clear?

14. Does the copy feel like a one-on-one conversation between two friends with a common interest?

15. Is the emotional tone of the copy appropriate for the subject matter?

16. Is it clear that the spokesman is an advocate for the prospect and has an emotional stake in getting this information to him or her?

17. Is the prospect likely to find an emotional soul mate - someone who articulates his feelings - in the spokesperson?

18. Does the spokesman feel like a friend and advocate - and not just another salesman?

19. Do you feel as though the copy moves faster as you progress through the piece?

20. Are the practical benefits of the product and/or premiums fully dimensionalized?

21. Are the positive emotional benefits the product/premiums deliver fully addressed?

22. Are the negative emotions your prospect has regarding the topic at hand and that will be neutralized by the product fully explored?

23. Are there entertaining elements sprinkled throughout - and if so, are they appropriate to the subject?

24. Is the value of the product and all premiums fully dimensionalized - and is the price fully trivialized?

25. Is there a plausible rationale given for the discount, premiums and other offer elements?

26. Does the guarantee restate benefits and is it presented in a way that deepens the bond between the spokesman and prospect?

27. Is the prospect's desire for instant gratification addressed? Have you emphasized how quickly he or she will receive the product?

28. Did you feel your excitement rising to a crescendo as you approached the close?

29. Does the spokesperson present a compelling reason to buy now?

30. Is there an urgency motivator - a fast-response bonus, a limited offer, a deadline, etc.?

31. Would it be strong enough to get you to act?

32. Does the close leave you feeling like it would be insane NOT to order?

33. Is there a special incentive to order right now - by phone?

34. Does the order form copy restate the benefits and the guarantee in a compelling way?

35. Does the order form appear to be simple and easy to use?

36. Are the ordering instructions clear and easy to understand?

37. Does the order form thank the new customer for his order and begin the bonding process?

What matters now, I guess, is the way in which anywan "might be wonderin'" -- or any sumsuch.

An' I say this on the basis of connectivity potential as may exist between Hoomans of Round The Block Old (kudos to Woo!) an' intertrixty personstuffs manifested as goober Gen Z deliverables.

I mentionin' this bcs messagin' has more access now to superjuicy visyools & instantaneous hit appeal, an' merely to SAY "You might be wondering" got all kindsa red flags gowin' on.

Like the PRESUMPTION alarm jus' went off.

"Actschwlly, no -- I was naht wondrin' at all, I was merely floatin' on a cloud till you showed up & foisted your drive-by speculation 'pon my frickin' ass."

& yet connectivity between all generations gotta be troo -- less'n we all suddenly mutated out.

So the trooth grain in mightness of wondrin' prolly gotta be eternal (an' I wanna hope so, or I ain't nevah swankyin' out noplace exotic with Benedict Cumberbatch), but we might wish to vary the form this connection potential takes.

Rule connects same, manifestation don't need to be literal.

That is why I always avoid LOLcats trojan horsin' crapola offa the back of cutesy fluff.

tbh best transitions don't announce their flux.

One minute you one place, next you sumplace else -- all jus' kinda bcs.

Which is weird bcs so much transition stuff is anxiety for plenty people.

Between jobs. Between partners. Between homes. Between times.

An' what you want always is a narrative knits evrythin' togethah sweet.

So all them pain points gotta kiss up alongside all the smoochie -- without sparkin' off incendiary like flint.

Connectivity got the powah to unite whatevah you want & spill cool kinda noo stuff into the mix.

Well...

What a bazzing thread this is.

Max on extra potency swipe files.

The Princess on literature.

An "under the radar" Halbert approved copywriter still in top gear.

Whatever next.


Steve

Steve The Copywriter


Nice to meet cha.

We should talk sometime. Call me,

Linwood

Yes "journeys" it is.

We could say the best ads make the good people have an epic adventure in their minds.

And buying the esteemed product or service will make it all gloriously real.


Steve

Journeys as transformations makes sense to Moi.

Right at the start you got a dream fyootyure you wanna make happen, an' the ad or offer is the hoop through which you leap in ordah to get there.

If it don't promise the fyooture you seek -- why bother throwin' on your Nikes?

Don't always have to be a heroic leap in the sense you gotta wear a spangly thong & carry a sword or nuthin' -- but it does have to be a very distinctive opportoonity to effect meaningful & tangible change.

Once the change happens (bcs you fitter, healthier, more stylish, got noo headphones, ain't dead, pets pee straight -- or whatevah), you can gaze back through time's portal an' look in on your previous self with great satisfaction.

Best still, the journey from Poor Past Unfulfilled Self to Shiny Noo You got nuthin' to do with the woids in the ad at all.

Bcs you so smart, you jus' made the right decision at the right time.

Hence the radiations of solar majesty blowin' outta your ass.

THE OLDER YA GET THE MORE DEAD FRIENDS YA HAVE THAN LIVING FRIENDS.



I used to call Barrie about once a month or so.

I loved that man.

He was something of a mentor to me.

I got his father's book... HOW TO CONVERT WHITE SPACE INTO ADVERTISING THAT SELLS... in 1987 or so.

I stayed up till 2 or 3 in the morning digesting it.

I used that book over and over again as my go-to book of ideas and strategy for all kinds of copywriting jobs. Furniture, Finance, soft-goods, get-rich-quick ads, professional services, wholesale, retail, info-products, you name it.

Barrie was every bit the ad man his father was.

His father was the advertising genius from the 1930's to the 1960's. Quite a career.

I learned a lot from Barrie over the years.

One thing I learned, that you can't pick up from the Bedell ad books is that his father hated banks.

Don't blame him. Central bankers sure do cause a lot of trouble in our world.

Barrie had some heart trouble a few years back.

He was 84 years old, I think.

He stopped answering his phone about 6 months ago.

His phone went dead about 4 months ago.

I used to promote that old book of his dad's HOW TO CONVERT WHITE SPACE...

HERE's the ad copy I used to promote it.
Whenever I got a call about the book (manuals, really) I'd turn the call over to Barrie, who had a stash of them in his garage.

Go see if you can find a copy on ebay or amazon.

Grab it if you can.

I don't have any, other than my own copy.

But I was thinking of teaching the course.. everything in the manuals, plus my own spin on it all, using today's fancy internet media.

I was thinking of teaching anyone HOW TO CONVERT BLANK SPACE INTO ADS THAT SELL... for $495 per month.

At least one hour lesson per week.

I figure we can cover everything in about 6 weeks. Maybe 8 weeks.

If you have any interest in such a thing, reach out to me.

Meanwhile, I just wanted to say publicly "God Bless Barrie Bedell".

He and his father were like the "Blue Collar" advertising gurus of what works and what doesn't.

Just thinkin'