the active power of involvement
Some Pertinent Examples of Involvement
. . . A short-copy ad from the Cigar Institute of America shows a closeup of a woman's face and one tear rolling down her cheek. No cigars, no men, no smoke. Just the caption, "A good cigar is as great a comfort to a man as a good cry is to a woman."
What a provocative idea, and how it involves the male reader! He completes the thought, "Men don't cry, but they need an outlet for their emotions." He probably mulls over the idea too - pictures himself smoking a cigar, thinks of the outlet of chomping on the end of it, savors the maleness of the situation.
And, of course, women are also involved in that ad. It probably helps to overcome their prejudice toward cigars. They feel a sympathy for those poor grown-up boys who are never allowed to cry. It's a small enough concession to let them smoke their cigars, repulsive though they may be.
In a similar vein is an ad for After Six tuxedos. In the foreground, we see the picture of a husband - not a handsome, wooden model, but an "ordinary Joe," with a large nose and a craggy face - happily wearing his formal garb. In the background is his wife, under a hair dryer, surrounded by finery. The copy reads, "For the big party your wife will buy a new gown, shoes, stockings, lingerie, lipstick, nail polish, hairdo, earrings, stole, perfume, gloves, even eyelashes. . . . You deserve one After Six tuxedo."
That delightful ad shouts for participation. Every male in the audience feels a sympathetic tremor. He is involved in the war between the sexes. He empathizes with the poor guy who always pays and pays. ("You're damned right he deserves one lousy tuxedo. Wives won't admit it, but how often do we give ourselves a break?")
So it goes.
Norins, H. 1966. The compleat copywriter. A comprehensive guide to all phases of advertising communication. New York: McGraw-Hill, pp. 36-37.
. . . A short-copy ad from the Cigar Institute of America shows a closeup of a woman's face and one tear rolling down her cheek. No cigars, no men, no smoke. Just the caption, "A good cigar is as great a comfort to a man as a good cry is to a woman."
What a provocative idea, and how it involves the male reader! He completes the thought, "Men don't cry, but they need an outlet for their emotions." He probably mulls over the idea too - pictures himself smoking a cigar, thinks of the outlet of chomping on the end of it, savors the maleness of the situation.
And, of course, women are also involved in that ad. It probably helps to overcome their prejudice toward cigars. They feel a sympathy for those poor grown-up boys who are never allowed to cry. It's a small enough concession to let them smoke their cigars, repulsive though they may be.
In a similar vein is an ad for After Six tuxedos. In the foreground, we see the picture of a husband - not a handsome, wooden model, but an "ordinary Joe," with a large nose and a craggy face - happily wearing his formal garb. In the background is his wife, under a hair dryer, surrounded by finery. The copy reads, "For the big party your wife will buy a new gown, shoes, stockings, lingerie, lipstick, nail polish, hairdo, earrings, stole, perfume, gloves, even eyelashes. . . . You deserve one After Six tuxedo."
That delightful ad shouts for participation. Every male in the audience feels a sympathetic tremor. He is involved in the war between the sexes. He empathizes with the poor guy who always pays and pays. ("You're damned right he deserves one lousy tuxedo. Wives won't admit it, but how often do we give ourselves a break?")
So it goes.
Norins, H. 1966. The compleat copywriter. A comprehensive guide to all phases of advertising communication. New York: McGraw-Hill, pp. 36-37.