Outdueling alcohol and tobacco with advertising is like bringing a knife to a gunfight.     

For over 25 years, I worked in the creative department at a number of big name advertising agencies. I was (and am) a copywriter by trade and began my career in that capacity, at the Leo Burnett Company in Chicago. During my lengthy tenure at that storied agency I wrote and produced copy for numerous alcohol and tobacco clients, including (in no particular order): the Phillip Morris company (now named Altria Group), Diageo (Wine & Spirits), Anheuser Busch, and the Miller Brewing company. These were and are Fortune 50 multinational companies spending many, many millions of dollars a year on marketing alcohol and tobacco products to any number of audiences, none more coveted than the youngest populations.

      Though federal and state laws were in place regulating the drinking and smoking ages of consumers, by definition mass media easily allowed advertisers to circumvent them. After all, a beer commercial televised on a football game could be seen by adults and children alike. Print media (remember that?) had more discernable target audiences i.e. Playboy and Esquire (adult males) Martha Stewart (adult females), etc. Outdoor adverting (billboards, bus shelters, and the like) had the unique benefit of being able to infiltrate very specific markets via targeted media plans. Putting malt liquor billboards in impoverished urban neighborhoods is a classic and controversial example of how easy it was for advertisers with money to influence the people who could least afford to drink and smoke – economically, sociologically, psychologically, physiologically and even spiritually. But hard times beget hard drinkers and heavy smokers.

      And we all knew it.

      Really, every department in the traditional ad agency (creative, strategy, accounts, media) was built to optimize getting the right messages to the right people. I spent my days crafting copy specifically designed for specific drinkers and smokers, existing and potential. I knew who they were: their age, sex, ethnicity, proclivities and so on. We all did. Our clients paid us to know everything possible about targeted populations. And they had their own people doing the same. Elaborate strategies were developed and implemented to move product. As data became more accurate and actionable, the ability to optimize reach and efficiency grew exponentially. Unsurprisingly, substance abuse disorders among these targeted groups routinely were in excess of national norms. The ramifications were not lost on public servants and various anti-drug/alcohol/tobacco groups.

      Consequently, in order to combat this growing problem, many governmental and societal watchdogs invariably found themselves playing catch up and keep away. Banning outdoor ads near schools and eliminating cigarette ads from many publications were two of the more significant regulatory measures put into place. On another front, groups like Mothers Against Drunk Drivers and the Truth Initiative began calling for more stringent policies while underwriting marketing efforts of their own. Many of their efforts have been successful. For example, most teenagers no longer consider smoking cigarettes a right of passage. But many huge efforts were also huge failures. Recall the “Just Say No!” campaign?  It had the opposite effect on young people, perversely making illegal drugs the definition of cool. Getting folks to try something is a lot easier than getting them to stop. It’s not so much a matter of putting the genie back in the bottle; it’s getting the genie to stop drinking from it!

      Therefore, during our class discussion on prevention strategies for reaching and influencing people with either existing substance use disorders or the potential to develop an SUD, it became painfully apparent that these same strategies were (and still are) employed by advertisers to reach the very same audiences!

      For example: The Diffusion of Innovations Framework i.e. utilizing an influencer to create momentum behind a new idea is among the oldest saws in the advertising tool kit.  E.M. Rogers may have coined the phrase in 1962 but using celebrities to sell goods and services dates back hundreds of years, not long after the printing press was developed.

      The Health Belief Model we talked about (that messages will achieve optimal behavior change if they successfully target perceived barriers, benefits, self-efficacy, and threat) perversely mirrors the most common messaging strategies employed by marketers of beer, wine and spirits: Drink this and you’ll be in with the in crowd. Different agendas. Same conceit. “Good for you” can be spun.

      Advertisers are as interested in the Stages of Change Theory as any drug counselor, assessing someone for the likelihood that they might use as opposed to might not.

      And so on.

      Rules and regulations change. But human nature never varies. The theories driving many of the popular environmental strategies for the prevention of drug and alcohol problems are eerily (and necessarily) similar to the strategic marketing plans for alcohol and tobacco. When anti-groups have the most success effecting the environment via advertising it is when they employ the same levels of creativity, sophistication (and hopefully budgets) as their nemesis do. Like they say: fight fire with fire. Know your enemy.

Written for course at Berkeley Extension Certificate Program in the Treatment of Substance Use Disorders

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My Laptop, a Monster Zero and Thou!

Nothing suits me more than writing a good manifesto! I know I am not alone. Most copywriters get off on writing manifestos. At least they’d better. Writing such documents is at the heart of what we do, and can do, for our clients.

Most of you know what I’m talking about. For those unawares, a manifesto (aka mantra or anthem) is the bringing to life in words the highest and most noble aspirations of its subject.

Yes, it is advertising copy but in the best sense of the word. Recall Apple’s great script to the modern world: Think Different. Consider the lines that first and forever defined Nike to a generation: Just Do It. We know these iconic tags because we fell in love with the manifestos. Frankly, neither line would have lasted this long, or even gotten out the door, if not for their beloved manifestos.

The power and glory of a brilliant manifesto cannot be overstated. They raise the hairs on the back of your neck. They make CMO’s smile. They win pitches. Most of all they change things: attitudes, behaviors, even lives.

At least the good ones do.

Into these haloed paragraphs we put everything we know or think we know about writing, about persuading, about life. Here you won’t find speeds and feeds, racks and stacks or friends and family. None of that.

May I write one for you?

https://www.steffanpostaer.com/

Copywriting / Creative Direction / Creative Strategy

Boundless passion for developing creative business ideas, winning new accounts, and elevating a company’s creative profile.

Author Unknown (Pt. 4)

July 12, 2020

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Promoting yourself made you as many enemies as fans. Haters relentlessly trolled you online calling you untalented, vainglorious or worse. Colleagues wondered if you were paying more attention to your novels than your job. Your wife thought you were chasing windmills. To some extent they all were right. But the genie was out of the bottle; you simply had to keep trying. Something would click. You would have the last laugh.

One morning, you saw a complete stranger reading your novel on the “El” in Chicago. Small sample, but no less thrilling, it was all you could do to keep from introducing yourself to the reader. In terms of validation this rare sighting would have to do.

Much later, your daughter’s high school art teacher read two of your novels, one after the other. During that relatively long period of time, he had constantly told her how good they were. Your daughter respected her teacher and by him praising your work you knew she respected you. Any glimmer of awe she had towards you was significant. Especially given how you’d fallen from her pedestal. This would have to do.

The accolades you received for copywriting, the wealth it provided, ego trips. For many, that would have done quite nicely. For you it wasn’t enough. Like Icarus you’d reached sublime heights, until your wings got clipped and you fell to earth.

In the end as in the beginning, a writer writes. Writing for its own sake, without the obsession for income or outcome. A writer writes. This, too, will have to do.

(If you’re interested in any of my books please click on the links right side of this blog. Thank you!)

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Two giant companies are merging into a behemoth. They hire me to write a manifesto honoring the union. It must be celebratory but reassuring too. People from both sides are scared, fearing redundancies. The new sales force needs a clarion.

I ask to be paid a modest sum. The project manager counters but promises more work if things go well. Work is scant. I’m hungry to write. And this assignment is in my sweet spot.

Over the course of two nights, I write like a man possessed. I read the mantra over and over, barely whispering, making sure each word sounds just right, feels right, is right. Changing a pronoun. Altering a line break. Technically, a word is just a little thing. But each one is in fact a puzzle piece. They either fit together properly or they don’t. It’s hardly the Iliad. But it’s what you do.

Finally, I press, “send.” And off it goes into the ether.

If you would like to see what I wrote or want me to write something for you, hit me up. I’m ready, willing and super able!

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Over the years, creative leadership has meant different things to different people in different kinds of agencies. The following is meant to clarify what it could (and probably should) mean to an agency right now and moving forward…

The primary purpose of creative leadership is to enhance the creative reputation of the agency, to be a creative advocate for the agency (and its clients), and to help the agency win new business and to grow organically. Wherever the CD might assist in accomplishing these things, he/she should be enlisted. Any challenge threatening the above, he/she should be enlisted. No less important, the creative lead assists in the development of strategy (conceptual and tactical) and welcomes the collaboration.

Here’s what I do and what I feel is expected of me:

Organizing Principle. I am interested in creative business ideas that drive our client’s business; what I call an organizing principle: a melding of strategy and hyperbole that puts a stake in the ground, demonstrating the power and potential of our client’s offering. An OP usually includes a manifesto that brings it to life, a poetic and powerful story that sets up the problem and delivers the solution. For every OP I expect proof of concept in formats relevant to the engagement, i.e. home page, product and solutions, advertising, templates, trade show booth, etc…

The Three C’s: Creation. Curating. Choreography.

  1. Creation: As a player-coach, rely on me for high-level concept development and first order copywriting.
  2. Curation: Finding the best work and making it better, combining and marrying assets to tell the best story.
  3. Choreography: Putting work together so it flows with the rest of our content and delivers maximum impact.

Pitching. As a creative face for the agency, I should play a significant role in pitches – not just creating the work in the room but also delivering it effectively.

Strategy. I can contribute on strategy (conceptual, digital, tactical, media) and look forward to helping pre-strategy and in the development of creative briefs.

Integration, Alignment & Resources. Helping to determine best fit for creative resources from the available talent pool.

I am available for contract, freelance or full time engagement. All inquiries: Steffan1@rcn.com