For Adults Only

By Ray Schultz

Time Inc. was always known for producing fairly mainstream products. But it occasionally showed its avant garde side in its direct mail.

For example, in 1959 it sent a small film strip with half a dozen frames from the movie Hiroshima Mon Amour.

Of course, the publisher sent many doo-dads and items to drive engagement in those days, including its famous red pencils. But the Hiroshima piece was daring, given the subject matter of the movie directed by Alain Resnais and written by Marguerite Duras.

My vague memory of seeing it decades ago—we walked in late—was that it was about an unnamed Japanese architect trying to seduce an unnamed French actress as they wander the eerie, neon-lit nightscape of Hiroshima 14 years after the atomic bombing.

As I learned recently after seeing it again, it’s not about that at all. Actually, the pair has already commenced a relationship. The question is: Will it go on from there, or will the woman played by Emmanuelle Riva return to France as planned?

At bottom, the film is about attraction, and some say about memory. But it is layered with moral ambiguity, even as it starts. As we view horrific film footage of the aftermath, the women talks about her visits to Hiroshima’s Peace Museum and her knowledge of the devastation.

“You saw nothing in Hiroshima,” the man played by Eiji Okada repeats, almost as a litany.

Of course she hasn’t. Even the man wasn’t there—he was in the army when the bomb was dropped—although his family was.

But the woman has had her own wartime experience in the French town of Nevers. She fell in love with a German soldier. He was killed, and she was shamed after the Germans were driven out by having her hair cut off in public.

By order of her parents, she snuck out of town and arrived in Paris just as the news about Hiroshima was breaking. People were happy: It meant the end of World War II.

Not so well understood at that time were the consequences for the residents of Hiroshima and the rest of the human race.

“Does the night never end in Hiroshima?” she asks.

“It never ends in Hiroshima,” he answers.

Rivas’ performance is especially shattering. At times, she seems to mistake the man in Hiroshima for her German soldier. But both characters are in turmoil.

Assuming they are separated, how will the two lovers, both of whom have spouses, remember each other? Will they at all? And if so, what will they call each other?

Alain Resnais, who also directed classics like Last Year in Marianbad, recently died. Eiji Okada, who starred in other great films like Woman in the Dunes, died in 1995. Rivas, at age 85, gave another stunning performance in Michael Haneke’s 2012 film Amour.

And Time Inc? Around the time of Hiroshima Mon Amour, it also sent several pages from Alan Drury’s novel Advise and Consent. It’s not clear whether these efforts pulled, or which of its great copywriters were involved. The company was not afraid to try.

41 Shades of Gray

By Ray Schultz

Another hot shot writer is in trouble for alleged serial plagiarizing. Benny Johnson was fired by BuzzFeed last Friday after readers found “41 instances of sentences or phrases copied word for word from other sites,” as editor Ben Smith put it in a blog post, according to Mashable.

There’s no reason for gloating, although I suspect some grizzled reporters are doing just that. I can hear them asking if Johnson, BuzzFeed’s viral politics editor, ignored the ethical training given out in J-school.

But it’s the wrong question, given the nature of BuzzFeed and Johnson’s alleged offense. Maybe Johnson didn’t even go to J-school.

He seemed to specialize in what are now called “listicles” – trashy, specious lists, as in: “7 Signs That Your Dog Is Having an Affair.” Like the best content curators, he borrowed liberally from others, but without crediting his sources, Smith admitted.

Yikes. It’s bad enough to plagiarize renowned works of fiction or history. But listicles?

Yet “curation” apparently is the basis of BuzzFeed’s business model. Adrian Chen wrote on Gawker in 2012 that BuzzFeed has “built a lucrative business on organizing the internet’s confusing spectacle into listicles easily comprehended by even the most numbed office workers.” Chen added, though, that “many are highly derivative rip-offs from other sites, cleaned up and reproduced without crediting their sources.”

Has it changed since then? Maybe. “Go to BuzzFeed.com and click on any one of its lists. In very fine print, buried below each photo, there will be a link to another site — usually Reddit,” Dylan Byers sneers on politico.com.

Byers also offers this explanation for how Johnson went wrong:

“When BuzzFeed reporters wrote, they were subject to the same rules as everyone else. Sure you could draw facts from elsewhere — everyone does — but you had to write it in your own language.

“At some point, Johnson probably got lazy and started inserting text into his posts the same way he had been inserting photographs — by pressing Ctrl+C and Ctrl+V. His mistake was that he forgot to put quote marks around it and add “according to.”

That seems right, although it’s all part of a viral content system designed for people with short attention spans.

And let’s not forget Johnson’s worst alleged offense:plagiarizing Wikipedia.

I used to joke that I’d fire any reporter who used Wikipedia as a source. There are too many small factual errors (and probably many big ones). It’s a slipshod practice.

But if you do sneak it in, at least have the courage to admit it. I’d hate to be the editor who had run an apology for ripping off Wikipedia.

Don’t think this is limited to listickle writers—book authors and academics also quote Wikipedia, which in fairness doesn’t purport to be a primary source. When did everyone get so lazy?

Here’s some free advice. If BuzzFeed is indeed focused on curation, it should source everything—it’s as simple as that. There’s nothing wrong with compiling a content sampler if you attribute pickups and include links.

For their part, writers should follow Robert Caro’s rule and source every single quote or paraphrase. Don’t worry if it bogs the copy down.

And Benny Johnson? One can guess that he enjoyed his moment in the sun. Or maybe he didn’t—it had to be stressful. Either way, what’s his future?

Fallen journalists rarely make it back—there are too few jobs even for good reporters. But that may be changing, along with other things in publishing. A clever person with a good business head could start his own site, or find another one to hire him. And like other nine-day wonders on the Internet, he may find that he is forgiven as long as he drives traffic and dollars. So much for ethics.

 

 

 

 

DEAR FRIEND: The Rascals, Rogues and Roues Who Made American Junk Mail Chapter 14: The Road To Wellville

By Ray Schultz

Painfully shy, so thin he was rejected for insurance policies, Edward W. Proctor did not look like a salesman. But his employer Charles Guild wanted him to sell, so Proctor did, starting around 1900. This took him to outfits like the Swamp Root Co., maker of the Swamp Root kidney and bladder cure, of Binghamton, New York. Asked what Swamp Root was good for, Willis Sharpe Kilmer, the founder’s son, replied, “About one-and-a-half to two million a year.”

And it brought Proctor to the D.A. Williams Medical Company, seller of a “uthrethral balm” to Civil War veterans. “Exposure, miasma, bad food, hardships of every description—these and not the bullets are responsible for the extremely rapid death-rate among the veterans,” it said in a direct mail letter.

In short, Proctor was selling mailing lists in the format of the time: Letters from customers. Guild explained it in an advertisement: “Letters for Rent. We carry millions of all kinds of letters received in reply to newspaper and magazine advertising, which we are offering for copy at low rates. Our specialty is Nervous Debility and Medical letters.”

Fourteen when his father died, Proctor left school and went to work in an ice house, then as a clerk in a law firm. He wanted to be a lawyer, but his main job after seven years was getting his bosses’ hats shined. So he took accounting courses.

Then he was hired by Guild, a failed advertising agent from Boston. Guild’s first firm had gone into receivership, the result of his financial mismanagement. So he moved to New York, and applied himself to selling ad space in mail order newspapers like Westerner.

This was a step down. These rags were mailed to people who hadn’t subscribed; stacks of them piled up in backwoods post offices. Now, thanks to rural free delivery, they were delivered right to the door. “These disgusting prints thus force their way unsolicited into the homes throughout the country and their demoralizing influence it would be hard to overestimate,” a critic wrote.

The average issue contained fiction like “The Fortunes of a Factory Girl,” jokes and cracker-barrel wisdom and columns on subjects like how to milk cows in winter, all written by “unknown people, whose acquaintance with philology, grammar and other essentials of successful word-weaving has been very slight.”

They also contained patent medicine ads, one more unbeleivable than the next. In a single issue of the Homemaker, Dr. A.J. Hill said that Preparia could “relieve the ailments of pregnancy,” Dr. Mixer sold a “sure cure” for cancer, Dr. Chas W. Green offered one for fits, and Milo Co. promised that “Any woman can cure her husband, son or brother of liquor drinking by secretly placing this remedy in his coffee, tea or food.”

Some of these firms went out of business soon after starting, but not the H.H. Warner Co. Hulbert Harrington Warner Warner had made a fortune selling office safes. In mid-life, he came down with kidney trouble, and the only remedy at hand was a potion made up of glycerin, water and alcohol.

In 1879, Warner bought the rights to this purported miracle drug from the doctor who created it and started advertising it as Warner’s Safe Cure and Kidney Cure, He soon was spending almost a million dollars per year on advertising, and his ad department was “the most important and principal feature of this concern,” a reporter wrote.

Warner was also active in the mail. He sent 35 million letters and almanacs a year, and the Rochester Post Office bought the first automatic machine to handle them. In one promotion, Warner invited readers to send $1 and a urine sample for a “free treatment by mail.”

Many medicine sellers did this, but few examined the specimens; those that did simply passed the vials over a flame. If the liquid turned dark, that meant sugar; white meant albumen. The treatments were the same for both. Pranksters who knew this sent horse urine to the Swamp Root Co., and said it was from a “Caucasian male.”

Warner’s writers moved on. They amused almanac readers by asking them to find spelling errors in their copy, and by describing a conversation on a new device:

Hello! What is it?

Please connect the telephone with Warner’s Safe Remedies Establishment.

Hello! Who is it? What’s wanted?

I do not believe you know me, or would if I should tell you who I am. I want to talk with you a few moments.

All right! Go ahead.

I want to ask you something about your pamphlet, your establishment, kidney disease, and lots of other things. I know you have got a good medicine, but I want to know something about how to keep well.

Whew! Tut, tut, tut—louder! I can only just hear you talking about keeping well, our pamphlet, kidneys, etc.

That’s it. You understand me now. Can you hear?

Yes, but before we get through with this subject, we would burn the wires off. Come to Rochester some day, and we will go through the entire subject.

Yes, but if I should come to Rochester I would take lots of your time, and you would get tired of talking.

Never mind. Come on! Be glad to see you. Good-bye.

Hold on a moment—one more word—may I bring my wife, too?

Yes, have her come, and the whole family: the neighbors, too, if you like.

Warner sold the company, then was ousted for manipulating the stock price in his own favor. But he had set the standard for everyone, and Guild was able to land some of these advertisers as clients.

Proctor felt that he had finally found a career. And he applied himself to it in a way that his boss Mr. Guild never would. Soon, he met rival letter brokers like Herbert H. Hull, who owned a million letters, and Frank B. Swett, who had even more. “There are five million chronic sick and incurables in the United States, and I’ve got letters from one million of them right there in that building,” said one such broker, pointing to his warehouse. They were convivial fellows who cooperated with each other even as they competed and what Proctor couldn’t learn from Guild he learned from them. He commenced his education.

He learned that the value of a letter decreased as it got older.

He learned that a person who wrote out of curiosity was not as good a prospect as one who knew what he would receive.

He learned that the names of mail order buyers were better than those copied from directories or clipped from newspapers.

He learned, too, that some of the most coveted names were those of sick people rejected for life insurance policies; treatments could be sold to these unfortunates.

More valuable still were the letters held by Lydia Estes Pinkham, of Lynn, Mass. Her Vegetable Compound, an herbal concoction with an 18% alcohol content, was guaranteed to “ease women through the Change of Life, dissolve and expel tumors from the uterus, and cure entirely the worst form of Female Complaints, all Ovarian troubles, Inflammation and Ulceration, Falling and Displacements, and the consequent spinal Weakness.”

Pinkham’s “mild Quaker face” appeared no only on bottles of the compound, but in all circulars and newspaper ads. “Many small newspaper offices possessed no cut of a woman’s face except that of Lydia’s maternal countenance, which occasionally was shifted from an advertising to a news column to do double duty as Queen Victoria,” wrote historian James Harvey Young.

Every ad for the Vegetable Compound invited readers to “Write to Mrs. Pinkham at Lynn, Mass., and she will advise you,” and millions of women did. But Pinkham insisted that the letters were “opened by a woman, read only by a woman, seen only by a woman,” and she wouldn’t rent them—to anyone. “They can’t be bought,” a broker said. “The old girl won’t even answer a letter about them. I don’t know what sort of a plant she has at Lynn and it doesn’t matter much, as her files are worth more than the plant.”

Rubbish, said another; Pinkham’s advertisements are “so wide in their scope…that hardly a woman can read them without feeling that she is a sufferer… they are practically worthless after written.” (Little did they know that Lydia was dead, and had been since 1883—the company was now being run by her children).

The tone of Proctor’s talks with these brokers can be inferred from an 1890s newspaper account, in which a young man meets a letter broker on a train.

“I am a dealer in old letters, and am now on my way home with a check for $250 in my pocket which is all velvet,” the broker said. “This check I received for the use, for one month, of 10,000 letters, of which I am the owner.”

The older man was happy to explain the business.

“You, in the course, of your life, have written in reply to some advertisement, asking information in regard to the article advertised, or sent a request for a sample to be forwarded, and enclosed the necessary price, otherwise you have been different from most persons.

“The letters received in answer to such advertisements have a distinct market value among parties who deal in novelties. They are better in every way than lists made up from directories, representing, as they do, interested parties, or, in other words, persons who, attracted by the catchy wording of advertisements will be still more liable to bite after reading lengthy circulars with arguments as to why they should purchase.”

The broker went to his compartment, and returned with samples.

“For these letters I pay at the rate of from $30 to $50 per thousand, and thus become the sole proprietor of them,” he said. “I have my customers, to whom I rent them at the uniform price of $50 per thousand for the first month’s use. They find them very valuable in sending out their circulars, and on their return these letters become a part of my stock in trade, being re-let at constantly decreasing prices, according to the number of parties through whose hands they have passed, until they remain marketable for many years at so low a figure as $3 per thousand for 30 day’s use.”

But these were not as valuable as his medical letters.

“I have got a number of hundred thousand of such as these, which we call ‘the blooming sucker variety,’ and for which I pay as high as $75 to $100 per thousand,” the broker continued. “These I let to my medical customers for, say, $125 per thousand for the first thirty days, reducing the price afterward.”

What good were these letters to a patent medicine seller? The broker explained it. “Did you ever go fishing more than once to a pond where you had spent a whole day trying to get a bite? Oh, no, you always go where you have been able to fill your basket before, and it is just the same in fishing for men.”

“Why, my dear boy, some of these medical practitioners in special diseases will not sell their letters for love or money. Why? Because after they have worked the fools under one name for all the money they can get out of them, the doctors then address a letter to the innocents under another name, saying they have learned that he (the patient) had been under the treatment of those unmitigated quacks, giving his former name, and telling why they condoled with him for such a misfortune, and wishing that he could have come under their treatment, which could but prove successful. Nine times out of ten they catch the gudgeon, not only the second, but even the third time.”

Chapter 15: Sacredly Confidential

Sunday Night at Nine: Harpo’s Wild Ride

By Ray Schultz

Marx Brothers fans tend to have favorites from different periods. Some like The Cocoanuts and Animal Crackers, Broadway hits shot on a sound stage in Astoria in 1929 and ‘30. Others prefer the wacky Paramount comedies made in Hollywood from 1931 to ’33—Monkey Business, Horsefeathers and the anti-war Duck Soup. And some favor the lavish yet very funny MGM musicals developed by Irving Thalberg: A Night at the Opera and A Day at the Races. But few would choose Love Happy, the final film made by the Marxes, despite the fact that it was Marilyn Monroe’s first.

Initially, the 1949 flick was a vehicle for Harpo Marx, the silent, harp-playing brother. But he had to enlist Groucho and Chico to get backing, and their parts were hastily written into the script.

Now entering their dotage, the Marx Brothers had not appeared on screen together since A Night in Casablanca in 1946, and the film before that was The Big Store, circa 1941. Fearing it had a turkey on its hands, United Artists pulled out. But producer Lester Cowen was resourceful: He went to several brands and “solicited paid advertising just to get the movie completed,” according to The Marx Brothers, by Mark Bego (Pocket Essentials, 2001). In other words, it was an early example of product placement.

These were squeezed into a memorable Times Square chase sequence, in which Harpo scampers on rooftops with neon signs flashing around him. The brands? Kool Cigarettes and Bulova Watches. But the climactic moment belonged to Mobil Gas. Cornered by his pursuers, Harpo mounts the Socony Mobil winged horse and rides the neon Pegasus into the sky. Stoned-out hippies later cheered that scene.

Meanwhile, back on earth, private eye Groucho is approached by a dark-haired Marilyn Monroe.

“Some men are following me,” she says.

“Really?” Groucho says. “I can’t imagine why.”

But that was the best of it. The movie tanked at the box office, and Groucho turned his attention to You Bet Your Life, his popular TV show. And yet, true Marx fans sob with gratitude when they get a glimpse of Love Happy on TV. Maybe it’s not their favorite, but there were only 13 Marx Brothers films after all, and each one was special in its way.

Give Me Two Minutes of Your Reading Time: A Tribute to Gene Schwartz

By Ray Schultz

An acquaintance who knew him only as a big-time art collector once asked Gene Schwartz, “Do you work for a living?”

A good question, given that Gene seemed to be rich with no visible means of support. But he rarely discussed his work because these society types wouldn’t have understood. So his New York Times obituary in 1995 mentioned his art collection and his memberships on museum boards, but barely reflected that he made his mark writing raging junk-mail headlines like, “She Fled the Hospital when the Doctor said ‘Cut Her Open.’” “How to Develop Psychic Dominance Over Others,” and “Super Potency at any Age,” and was a certifiable lunatic.

Gene himself admitted he was a little odd—at least in print. “The copywriter is the person who looks at things that other people don’t see,” he once said. “As a result, the copywriter writes in a way that’s strangely fascinating…offbeat…and somewhat crazy.”

Too true. And by the time he died at age 68, Gene Schwartz had written more over-the-top copy, sold more products and provided more sheer entertainment than any two copywriters combined. And if you don’t believe it, give us two minutes of your reading time and we’ll prove it (as Gene wrote in an ad).

First, a little history.

Though he was born in Butte, Montana, and carried a part of that town within him all his life, Gene Schwartz was at heart a Manhattan sophisticate. He came to the big town in 1949 to write the Great American Novel, and found himself working as a messenger for the Huber Hoge mail order agency.

Within a year or two, he was copy chief, and in 1954 he started his own mail order firm, Eugene Stevens Inc. He offered vitamins, tranquilizers, potions and industrial products, many developed in the in-house research lab and all on the up-and-up, according to Andi Emerson, who worked for Gene for a few years and calls that period “the most fun time of my life.”

It was indeed an inspiring era, judging by the copy that survives.

As we sat in her Greenwich Village office drinking coffee one day in 1995, Andi, founder of the John Caples awards and herself a mail order legend, pulled out a frayed yellow newspaper ad from the Sept. 23, 1956 edition of the New York Journal American: “Here is the Tablet Doctors give Their Wives to Reduce!”

The body copy reads like something out of a Terry Southern satire: “After 27 years of research! After thousands of Reducing Miracles performed in doctors’ offices! Now you can lose UP TO 33 POUNDS — SO QUICKLY THAT YOUR FRIENDS WILL GASP IN ASTONISHMENT — without starvation diets, without a single hungry moment, without even giving up the foods you love!”

“His headlines were just fierce,” Andi commented, turning to another clipping, from 1958: “Now! The Miracle Gas-Saver that Europe Couldn’t Hide!”

Among the curiosities in Andi’s Eugene Stevens file are several copies of a magalog titled, “Car Digest,” which featured how-to articles on auto care and offered a variety of products — sort of an early-day infomercial in print. Each opened with an introduction by Gene, using the name Eugene Stevens. Why Stevens? Because in those days, “You couldn’t be Jewish and you couldn’t be a female,” Andi said.

But the real gems were to be found among his space ads and mailing pieces of the period:

“Give me a One Evening and I’ll Give You a Push-Button Memory”

“Now a tranquilizer Pill without a Doctor’s Prescription! Released to you for the first time!”.

“Full-Grown Trees — One foot tall.”

Emerson’s favorite came in a number 10 manila envelope headed, “Inside this package…A WIRE NAIL THAT CUTS THROUGH ARMOR PLATE!

“Yes! Inside this package is a common 20 penny wire nail – but a wire nail that cuts through armor plate as though it were made of wood!”

“They said you couldn’t sell metal hardeners by mail,” Andi laughed. “But we did — to GE, and many others.”

The firm pulled in maybe $4-million a year–big money in those days. “We were the biggest,” Emerson said.

But it couldn’t go on. Gene turned to freelance copywriting and marketing of self-help books for a living, and Emerson started her own agency. Why he closed Stevens is unclear today but one thing’s for sure: he never looked back. “I don’t save my ads,” he told an interviewer. “That would be living in the past. I’m interested in tomorrow…not yesterday.”

Hard to understand? You’re not alone. As the years went by and the dollars rolled in, intimates began to realize there were several Gene Schwartes, each compartmentalized as if he had no relation to the others.

There was the author of the how-to classic, “Breakthrough Advertising,” dubbed by writer Richard Armstrong “the secret weapon of most of the great direct mail copywriters I’ve known.”

There was the freelance copywriter, who sold millions of subscriptions and books for clients like Rodale. His package titled, “How to Get the Guts of 300 Business Magazines in 30 Minutes,” put Boardroom Reports into business, even though Gene’s fee took up much of Marty Edelston’s start-up capital.

There was the six-foot, four-inch society person, who cut such a figure next to his stunning wife Barbara. Celebrated for their style, and for their habit of buying modern art and then giving it to museums, they were often photographed in their Park Ave. pied de terre by publications like New York magazine. (And yes, he was a spiritualist, writing a book titled, “You’re not far From the Kingdom of God,” which took 100 sayings of Jesus and found their roots in the Old Testament).

But all of these respectable versions of Gene Schwartz took a back seat to the snake-oil salesman who right up to the end sold miracle cures out of a small office in New York. The man who once wrote great newspaper ads but delegated most direct mail chores to his assistants had by this time become a direct mail master, mailing maybe 12-million pieces a year and accumulating a file of 178,211 12-month buyers with an average sale of $32.98, according to a data card from The SpeciaLists.

As an example of his later mastery, consider the package titled, “How to Develop Psychic Dominance Over Others — either when you’re with them, or from far away.” Gene promised, “The first signs of psychic power appear in less than an hour.”

Results were even faster for respondents to this ad: “Can you make Onions Into Medicine that Rids You of a Dripping Cold?”

Gene claimed, “It takes less than 60 seconds.” (Pretty good remedies they were, too; by reading the advertised book: A person could learn to “Draw the infection out of a swelling, stubborn wound with cabbage leaves — even if modern remedies have failed: and “Let ordinary water cure cramps during menopause.”)

Good government types might wonder if there wasn’t a bit of blarney in these pieces, but the fact is that they accurately mirror what was written about in the books. For example, the copy inside the “Cut Her Open” package very precisely reports on the contents of a book on natural healing by one Dr. Eugene Wagner.

And a four-color package that asks the question, “Why Do Chinese Women Have Such an Impossibly Low Rate of Breast Cancer?”, also carefully reflects a book, “The Tao of Balanced Diet,” by Dr. Stephen Chang. (“Gene Schwartz in color–I don’t believe it,” Emerson exclaimed).

“He once told me, I don’t sell products, I sell dreams,” said Jack Baer of Muldoon & Baer. Gene believed in these books, because he read them and relied on their precepts himself.

After suffering a stroke in 1978, Gene was helped by Dr. Chang, a believer in Taoist healing principles. The package he wrote in 1979 for Dr. Chang’s book,”The Complete System of Self-Healing: Internal Exercises,” is still in the mail today, with only slight revisions.

The letter opened: “This may be the most startling health news you have ever read, dear friend—And we are going to let you prove its merits to yourself, without risking a single penny.”

These lines were overshadowed by the envelope headline, “How to Rub Your Stomach Away.”

“Can’t you picture this mailing being entered in the Caples or the Echo Awards and seeing all those judges running from the room gagging and screaming?” asked the newsletter Who’s Mailing What!. Despite this, the newsletter continued, Gene was “one of the greatest — and least known — copywriters in the world.”

“You’d have to be deceased not to respond to this,” Jim Rosenfield said of one Gene’s pieces. And Martin Decker wrote, “The rite of passage for everyone entering this industry should be to memorize a Gene Schwartz package after understanding the marketing, creative and copy strategy underlying it.”

Outside of the actual pieces, Gene’s legacy to direct marketing can be found in a couple of documents that, happily, are still around. One is a pamphlet published by Boardroom Reports, titled, “38 Ways to Make Your Headlines Great Headlines.”

“Your headline has only one job — to stop your prospect and compel him or her to read the second sentence of your ad,” he wrote. “The most obvious headline, of course, is simply to state the claim in its barest form. “Lose Weight,” or “Stop Corns,” for example. “And if you are the first in your field, there is no better way.

“But where you are competitive, or where the thought is too complicated to be stated simply and directly, you must reinforce that claim by adding variations, enlargements, or embellishments to the main headline claim of the ad. I call this process Verbalization.”

As for what do to after you get the reader to the second sentence, we turn to a 1987 interview Milt Pierce did with Gene for Direct Marketing magazine. Gene told Milt that a good direct response copywriter has four attributes: indefatigability, clarity, craziness and humility.

Listen, children: You won’t hear this kind of wisdom every day.

“When I talk about indefatigability, I mean that copywriting is research,” he told Pierce. “You can always determine the ad that has had the best research; it has something I call “claim density.” It’s packed with facts, with information, with ideas. You can’t get that without doing a lot of research.”

And clarity?

“It quite simple. Clear writing is strong writing.”

About humility, a virtue we’ve not found in strong supply among some
copywriters, he said: “The copywriter puts himself last. The customer comes first. The product comes second. The writing is what comes last. Above all, the copywriter has got to have integrity. He — or she — must never write an ad just to please the client…or to make money…or to meet a deadline…and never, never write an ad for a bad product.”

Shortly after his death, we spent some time with Gene’s former employees, who say that his firm, Instant Improvement, Inc., will remain open. We got the grand tour, from the back room with the metal bookshelves and carboard file drawers to Gene’s office itself, with his many honors and photos of Gene and Barbara with notables on the walls. What struck us most about the staffers is that they remained upset almost two months after his death by heart attack. And they were proud of what he had done.

“How many copies have we sold of “Rub?” one employee asked another.”

“I don’t know. Maybe 260,000.”

The great ones are going, and it’s unlikely that we’ll replace them from the ranks of the MBAs who dominate the field today.