When I was in college trying to decide what career path to take, ABC’s TV series “ThirtySomething” pointed the way. Barely in my twenties, I wasn’t thinking much about the importance of family and friends — even if subconsciously it made an impression. But when Michael and Elliot left for work and walked into that agency, something about it excited me. The rest of my career story is history; I’ve been an ad man ever since.

That was the last time advertising as an occupation was successfully portrayed to the masses on the small screen. Then along came “Mad Men”. There once was a time when mindless, “getting to know you” chit-chat started with talking about the weather. Nowadays when someone finds out what I do for a living, I hear “do you watch ‘Mad Men?’”

Of course I watch it. Before I got wrapped up in the seedy storyline, I hung in there waiting for the 5-10 minutes of the show that they actually talked advertising. I was once proud that it was so successful because I thought it was showcasing my profession. Apparently what it showcases is how terrible the men in this profession actually were as human beings. People actually ask me if I drink all day, have long lunches and nudge me, making reference to how much strange I probably get on the side. Yes, I am a CD, but that does not make me Don Draper.

I long for the days when people didn’t know much about what I actually do. Until “Mad Men”, my mom actually thought I sat around drawing all day. Now my mom thinks I’m a raging alcoholic with no scruples. “Mad Men” may get me cut out of her will, for God’s sake. A lack of ethics would propel “ThirtySomething’s” Michael into periods of self-reflection and depression. Don Draper and crew thrive on having no morals. Now, instead of asking or caring what I do, people believe a TV show that takes place before I was even born.

Now, back to those 5-10 minutes of the show where they actually talk advertising. Pitching ideas is a big part of my job, so I love whenever they pitch the Kodaks and Hiltons of the world. But, how those ads come about is another trivialization of what advertising is all about: strategy. We don’t just toss around random, hokie tag lines that would appeal to all men age 25-40. There has to be a reason behind every big idea – a USP that drives every thought. Michael and Elliott sat in that office shooting Nerf hoops for hours on end, discussing the dramatizing of a clients’ differentiation and how to make it so dramatic it would stick in your cerebral cortex and never leak out.

Don’t get me wrong, as a professional, “Mad Men” does inspire me in one ironically, unrealistic Hollywood kind of way. I admire the swagger in their step and the conviction for their talent. The amount of moxie oozing from these ad men allows them to gladly dismiss any client that doesn’t believe in the strength of their ideas. Something I, Elliott, Michael and all ad men throughout time wish they could afford to do. I’ve done it only a few times but I’ve done it nicely without a cigarette and a glass of scotch in hand. I’ve allowed clients to beat me down and disrespect my talent more times than I care to mention. Why?…because of the things that really matter: my career, my family and a personal belief that I am good at what I do. Michael and Elliott were good men. They knew that their jobs wouldn’t love them back. Only friends and family will.

Until the next advertising drama comes to TV, “Mad Men” is the label for all CD’s regardless of the people we really are. “ThirtySomething” defined the ad man I would become. “Mad Men” defined the ad man people think I am.

Recently, Fast Company and The Consumerist have posted “the worst ads of 2010.” And since we are in the ad business, we can’t help but put on our little, strategic ad hats, analyze the hell out of the creative and USP, and offer our very own opinion.

Staples

This commercial is obviously on the worst ads list. Have you heard it? With every “WOW,” we seem to become more maniacal. Their “low price” claim isn’t even accurate, ($17.99 for a pack of 8 pens!) making this commercial twice as ineffective. The creative stinks, and the messaging is off. They should stick with “That was easy.”

Quiznos Kitties

Where do we even begin with this one? The Quiznos Kitties have us confused. Are the sandwiches made by cats? Made from cat food? Neither one are appealing. And to top it off, the jingle is just horrendous – what are they even saying? The only good thing about this are those sweet kitty outfits.

Geico

While some people are entertained by the Geico gecko commercials, us ad folk think differently. While the accented lizard has become a brand icon (one of many) for Geico, its purpose simply lies in its ability to help you remember the Geico name. While that might be effective, the gecko promises nothing of Geico. While he is entertaining, can you remember anything more than that, say, the message, perhaps? Now those Cavemen, on the other hand…

Capital One

Another case of the brand icon gone wrong. Can you remember the original purpose of the vikings? Sure, the “Double Miles” message in this ad is clear, but how do the Vikings translate? The messaging and creative don’t work simultaneously, leaving us feeling perplexed. And while we applaud brand consistency, these vikings are case in point for what NOT to carry over.

While entertainment definitely holds strong in tv commercials, effective ads go far beyond that. The key is to create a marriage of creativity and messaging. Lacking either can lead to a bad ad – and a waste of valuable time in front of your audience. Getting their attention is one thing, but don’t fail to use that time to drive home your message.

I say all the time that creating a print ad is so much harder than creating a TV spot. In print, you have 1.2 seconds to nail your point before a page is turned or passed by. With TV, you get 30 seconds. That’s a lifetime to sell something. What is difficult in writing for TV is the temptation to let the bells and whistles of today’s technology take the lead – let the tail wag the dog.

If technology furthers the strategy, use it. But strategy is where the TV commercial begins. Which leads me to the other difficulty in writing for TV. All our lives we’ve learned to tell stories using words. Now you need to tell them with images, with words merely supporting them. So how do we use visuals in strategy to begin?

The big idea. What’s the main message that persuades and makes the product stand out? This is marketing 101. Determining a product’s USP.

The benefit. What is the benefit of the big idea and whom does it benefit? You have your product’s USP determined and you now need to think about how your target audience will want to hear it and what they’ll be interested in seeing.

Create visual elements that stick. Here’s where the personality of the brand shines bright. If the tone of your brand is rugged, dramatize that toughness with like imagery, typography, movement and sound.

Now you take that visual and tone to script. This is what we call a “treatment.” Use a narrative to tell the story. Much like a Cliff’s Notes version or the basic plot line of what happens. e.g. “Guy walks into a bar, gal comes over and says…” Once you’re happy with the scenario, put it in script form. Once you’re finally happy with your script, you’re off to storyboards. Now you can put technology to work for your script. The dog is now wagging the tail and strategy has not been sacrificed for the sake of cool effects.

Last Call, a dark and interactive horror film created by German horror channel 13th Street, just scored a top prize at the Cannes Lions. Owned by NBC Universal, 13th Street’s take on branding goes above and beyond anything we’ve seen lately.

Interactivity

The movie-turned-commercial is interactively groundbreaking; it uses new technology to allow the audience to participate in the film. Using voice recognition software, a select audience member is chosen to give instructions via cell phone to the protagonist in the story. Because each audience member provides different answers, each creates a unique film.

The great thing about this (or any) interactive campaign is that it allows the consumer to participate. It gives them something to latch onto that reinforces what the German Horror Channel is all about. It creates an active experience out of what would ordinarily be a passive one, allowing the consumer to have in depth interaction with the movie and brand.

Branding & Identity Strength

Zombies might not be your thing, but this stuff has some strength. In addition to the interactive movie-turned-commercial, a series of stationary was created. It seems that every aspect was thought out, taking normal stationary to interactive and creative pieces of advertising. It took 13th Street branding to an entirely new level, continuing along the path of interactivity (as you rip the envelope open, you also “rip off” some dead guy’s eyeballs).

Although it might be gory and gross, the movie and stationary have some mental staying power. They are brilliantly unique and again, reinforce what the German horror channel is all about: gore, guts, and scary stuff.

While the creativity is strong, there lacks a certain carryover. The 13th Street website lacks any resemblence of the strong brand identity that the movie, stationary, and overall brand have. If NBC had carried this over, the overall impact could have been staggering.

What do you think about the horror filled movie and stationary?

Images compliments of Behance.

I recently saw a commercial that made me laugh out loud (which is a rare thing). The product advertised was Old Spice Body Wash. The commercial (and a shorter version) appeared during breaks in comedy sitcoms – so I think it was perfectly targeted for the audiences that were likely to be watching. Take a look and see what you think:

We are always seeking the best ways to appeal to our clients’ target audiences. Do you think funny ads are more effective?